Consider that you might be leaning too hard on prose construction, and in doing so, decrease the energy of each descriptive. In other words, consider better line breaks. Since each item is a stand-alone visual, each item could stand to have its own line. In addition, build to your conclusion, don't lead with it. Finally, phrases like, "played badly," do not communicate well enough what "elevator music" really sounds like.
For example, (and with apology) take this reconstruction of S1.
With robotic arms and strange machines,
colours white and antiseptic,
echoes of familiar tunes,
smiley ads and waxed pages
adorning out-of-date magazines
In S2, the inversion of "deep down", that is, that it follows rather than leads, "anguish," also drains some of the energy, because it doesn't read naturally; horizontal deep down anguish...
In addition, a single word is not sufficient to make "clipboards" the cold-hearted clinical approach it strives to be. If some are holding flowers and smell, then some others are holding clipboards and doing what? Not smelling is implied, but not sufficient to distance them enough from the emotional moment. Find a verb for the "clipboards."
Your concluding verse contradicts your main premise. In S1 and S2, you've given clues as to "how life ends." Your lead into S3 implies another clue. Thus, to sign off, "without a clue," does nothing to advance your theme. You need to build up to that by negating what came before, somehow or other, as not really how life ends. And, because of my ignorance about rutabagas in general, and no clue as to what "eight and a half by ten" refers to in cooking them, that is, without reference points to guide the average reader, S3 is a leaking tire, not an explosive blowout.
If I don't get it, I mark it up to me, but if I want to get it, I put that on the author.