[Intro: original high Rhodes ostinato, uneven accents; low synth pulse, then lazy drums and liquid bass enter] [Verse 1: intimate female lead, amused and unhurried; wah-wah guitar answers each phrase] I saw you by the garden gate, All dressed for something bad. I went inside to get my keys. You made it halfway down the path. That little tilt you do looks sweet. You ought to try it with your feet. [Pre-Chorus: organ rises; backing harmonies enter softly] I know you mean it, baby. I see it in your eyes. But you’ve been coming for me Since a quarter after nine. [Chorus: warm soaring soul melody, silky backing responses; drums stay deep in the pocket] Take your time, Michael. (Baby, take your time.) I went home and changed my shoes. You’re still behind. You’ve got all that evil. I’ve got somewhere else to be. Take your time, Michael— You’re not catching me. [Verse 2: bass grows playful; lead uses sharper syncopation] The neighbors gave you something sweet. You never said a word. They thought you’d come to fix the sink. You stood there looking hurt. I took the long way round the block, Then doubled back to fetch my coat. You’d reached the place Where we first spoke. [Turnaround: short sung harmony exchange; guitar bends between responses] (He’s coming!) I can see. (He’s coming!) Eventually. Keep a little mystery, But pick up both your knees. [Chorus: fuller harmonies, bright guitar flourishes; lead stretches the title phrase] Take your time, Michael. (Baby, take your time.) I went home and changed my shoes. You’re still behind. You’ve got all that evil. I’ve got somewhere else to be. Take your time, Michael— You’re not catching me. [Instrumental: eight bars; drums drop out, original Rhodes motif exposed over low synth; wah guitar and lazy bass slide back in] [Bridge: close vocal over sparse Rhodes; briefly sincere] For half a second, by the hedge, I thought you’d disappeared. Then someone moved the wheelie bin. You’d been behind it all those years. My mother thinks you’re wonderful. She says you’re always there. I wish you’d show this patience With somebody else, somewhere. [Final Chorus: expansive soul harmonies; lead adds playful melodic runs] Take your time, Michael. (Baby, take your time.) I went home and changed my shoes. You’re still behind. You’ve got all that evil. I’ve got somewhere else to be. Take your time, Michael— You’re not catching me. [Post-Chorus: soft descending lead; backing singers hold a sweet chord] I left the porch light on. I put your sweets outside. You’ve got another fifty feet. We close at five. [Outro: instrumental only; Rhodes ostinato continues over languid bass, wah-wah guitar and swirling organ, slow tape fade]
