Todo el mundo está en la estufa,
Triste, amargao y sin garufa,
neurasténico y cortao...
Se acabaron los robustos,
si hasta yo, que daba gusto,
¡cuatro kilos he bajao!
Hoy no hay guita ni de asalto
y el puchero está tan alto
que hay que usar el trampolín.
Si habrá crisis, bronca y hambre,
que el que compra diez de fiambre
hoy se morfa hasta el piolín.
Hoy se vive de prepo
y se duerme apurao.
Y la chiva hasta a Cristo
se la han afeitao...
Hoy se lleva a empeñar
al amigo más fiel,
nadie invita a morfar...
todo el mundo en el riel.
Al mundo le falta un tornillo
que venga un mecánico...
¿Pa' qué, che viejo?
Pa' ver si lo puede arreglar.
¿Qué sucede?... ¡mama mía!
Se cayó la estantería
o San Pedro abrió el portón.
La creación anda a las piñas
y de pura arrebatiña
apoliya sin colchón.
El ladrón es hoy decente
a la fuerza se ha hecho gente,
va no encuentra a quién robar.
Y el honrao se ha vuelto chorro
porque en su fiebre de ahorro
él se “afana” por guardar.
Al mundo le falta un tornillo,
que venga un mecánico.
pa' ver si lo puede arreglar.
Enrique Domingo Cadícamo (1899-1970) was an Argentine poet and writer considered one of the most important figures in the history of tango. Born in Buenos Aires, Cadícamo distinguished himself for his ability to write poetic and refined lyrics that helped define the cultural identity of tango. Using the pseudonyms Rosendo Luna and Yino Luzzi, Cadícamo collaborated with some of the greatest tango composers of the time, including Juan de Dios Filiberto, Osvaldo Pugliese, and Francisco Canaro. His words gave life to immortal songs like "Malena", "La cumparsita", and "El día que me quieras", which continue to be performed and loved worldwide. Cadícamo was a versatile poet, capable of ranging from romantic, nostalgic to social themes, reflecting the complexity of Argentine life in the 20th century. His poetic legacy has left an indelible mark on the history of tango, contributing to its consolidation as a universal musical genre.
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