Now it is time (11:55 on a Saturday night, good time for anything) to delve into that searingly beautiful yet much unappreciated masterpiece ‘Take Me Out’, by the often grossly maligned band Franz Ferdinand. I think you’ll find that it expands your mind; renders you a much more hip and relaxed person, as Journeys of the Soul often do.
So if you’re lonely,
You know i’m here waiting for you,
This ‘love’ song begins with the traditional ending of a love song, a vow of fidelity, thus raising the question “Is there such a thing as living ‘happily ever after’, or does every love song end with the beginning of a sad song or murder ballad?”
I’m just a crosshair,
I’m just a shot away from you
Again, the character’s repressed longing for violence surfaces in the juxtaposition of courtship and firing a gun. It is reasonable to assume some amount of sexual arousal is derived from the image of the loaded firearm.
And if you leave here
You leave me broken shattered alive
I’m just a crosshair
I’m just a shot..then we can die
The lines ‘You leave me broken shattered alive’ and ‘then we can die’, dependent on the subject’s willingness to submit to the speaker’s anarcho-phallic discourse of sexuality overcoded with homicide, shows the fractured nature of life and modern world-alienation. Only death, the shot of the rifle, can reduce people to a plane of mutual corporeal immanence. This idea of death as the final and limitless communion of souls echoes the writings of Maurice Blanchot.
Ooohahhhhh
I know I wont be leaving here with you
The narrative changes from hopefulness to fatefulness as the speaker realises his powerlessness and the illusory nature of his free will. Yet, paradoxically, he continues to speak:
I say don’t you know
You say you don’t know
I say… take me out
I say you don’t show
Don’t move time is slow
I say… take me out
Radically isolated to the extent that language can no longer bear one person’s meaning across to another, speakers drift in a milieu of senseless and asignifying language. ‘Reality’ gives way to pure simulation. ‘Take me out’: only the death and sex drives, mysteriously intertwined, remain tenable as common ground in this confusing un-world.
I say you don’t know
You say you don’t go
I say… take me out
I know I wont be leaving here (with you)
I know I wont be leaving here
I know I wont be leaving here (with you)
I know I wont be leaving here with you
With no possibility of reaching ‘beyond’ language, the speaker drifts in an infinite regress, slowly realising that the object of his desire is nothing more than a product of his imagination; and that his imagination is not his own, but belongs to the meaningless cultural flow that transfixes it.
I say don’t you know
You say you don’t know
I say… take me out
If I move this could die
Eyes move this can die
C’mon…take me out
I know I wont be leaving here (with you)
I know I wont be leaving here
I know I wont be leaving here (with you)
I know I wont be leaving here with you
Reduced to nothing more than a phallophilic Oedipal construct, the speaker asserts the groundless statement of his inevitable fate. He is trapped inside the text, and no new meaning can be conceived since the concept of ‘originality’ has been deconstructed. The song ends, for no other reason than songs need to have ends. Nothing is solved, nothing is okay, and nothing can be done about it except to await death.
Tune in next week as we read Michael Jackson’s classic: ‘The Way You Make Me Feel’.