bo
The word bo at the beginning of the last line of both stanzas may be interpreted in two ways.
First, it can represent the Cimbrian universal relative pronoun ba (also in the form da) which is identical with Bavarian wo (e.g. des buach, wo da fåda nachdd glesn håd: the book which father read last night).¹ It comes from Middle High German wa and regularly gives Bavarian wo and Cimbrian ba.² In the Cimbrian dialect of the 7 Communities, such an a, however, never gives o. It is precisely the preservation of a which distinguishes Cimbrian from the other Bavarian dialects. We could argue that, as this text dates from the 16th century, it is from a period when many priests from Bavarian regions were living among the Cimbrians and could have brought songs with them. The text indeed abounds in forms from common Bavarian or even common Upper German church language. So this might account for the change to o.
The second possibility would be the interpretation as the preposition von. This sometimes appears as võ in the dialect of the 7 Communities. As there are several words in this text which are adapted to the Toballe dialect (e.g. biil for Standard (Sleeghe dialect) viil, braitar for Standard vraitar) we might expect bõ instead of võ. It doesn't fit in grammatically, however.

How difficult things are
the year can show us,
where the day runs
from morning to evening.

Time in its few months
still makes its round,
man, once he dies,
we don't see him any more.

Which man, even the strongest,
might secure us for one moment,
and (secure that) Lachesis won't cut off
what Atropos has spun.

1
As bia in the sense of "how" is attested, but rare in the dialect of the 7 Communities. The version in HK which has Az hia ("that here...") therefore seems more probable.

2
That iar means "year" becomes clear from the HK version which has jaar.
An other point remains unclear, however: Although we would expect an infinitive zooghen (to show), both versions have a suffixed form: tzooghenten (corresponding to the adverbial participle)³ here, and tzooghent (3rd plural indicative present active) in HK. We might speculate that the suffix represents a miswritten tzon, so that we would have a dative construction (tzon üs "to us"). This doesn't sound very attractive, though. Perhaps Karin Heller and Barbara Stefan from Innsbruck who are experts at clarifying difficult passages in Cimbrian texts could make some suggestion.

7
dar man can also mean "human being".
This version's an botta "some time" makes better sense than HK version's an bònan ("without weeping").

10
Cimbrian stunt (cf. modern German Stunde "hour") preserves the Middle High German meaning "moment", "second".

11f.
This hitherto most difficult passage can be clarified by comparing the two versions.
The HK version shows that instead of met "with" we have to read net "not".
Then, HK has zölle (3rd singular present active subjunctive of zöllan "cut off", cited in Schmeller's dictionary p. 182) for our version's sölle.
HK has lakesi in the place of our corrupt lacha si, which brings us much nearer to the intended Lachesis.
In line 12, however, it is our version which has the correct form Atrop where HK shows attropo.
Characters from classical mythology occur again and again in baroque poetry, not only in Cimbrian, but everywhere. Lachesis and Atropos - two of the Moiras (fate godesses) - are thus perfectly in place here.
It is striking, however, that according to Herodotos, it is Klotho who spins the thread of life, Lachesis who apportions it and Atropos who cuts it. Our poem's author Hans Begenbint lets Atropos spin the thread and Lachesis cut it off. He is not the only one in this, by the way, since in entomology, death's-head moth (which spins a thread) is called Acherontia atropos. This is probably the reason for the translation ein Schmetterling ("a butterfly") in HK.