The song ultimately benefited from two of the man’s best electric arrangements, on the highly charged 1966 and 1976 tours. On the latter tour it also acquired a brand-new coda that suggested faults on both sides: ‘You’ve no right to be here / And I’ve no right to stay / Until we’re both one too many mornings / And a thousand miles away.’ Its inclusion in the set, at a time when Dylan had reached much the same point in his relationship with wife Sara as he’d reached with Suze in October 1963, suggests its return to favour was no coincidence. Subsequent performances, which have tended to be (semi-)acoustic, suggest it is a song Dylan can plug his inspired self into at will, as anyone who caught performances at New York’s Beacon Theatre in October 1990, or at the second Supper Club show in 1993, can readily testify.
– Clinton Heylin – Revolution in the Air: The Songs of Bob Dylan, 1957-1973

Down the street the dogs are barkin’
And the day is a-gettin’ dark
As the night comes in a-fallin’
The dogs’ll lose their bark
An’ the silent night will shatter
From the sounds inside my mind
For I’m one too many mornings
And a thousand miles behind

From the crossroads of my doorstep
My eyes they start to fade
As I turn my head back to the room
Where my love and I have laid
An’ I gaze back to the street
The sidewalk and the sign
And I’m one too many mornings
An’ a thousand miles behind

It’s a restless hungry feeling
That don’t mean no one no good
When ev’rything I’m a-sayin’
You can say it just as good.
You’re right from your side
I’m right from mine
We’re both just one too many mornings
An’ a thousand miles behind