"Just Like a Woman" (Bob Dylan)

I'm a fan of Bob Dylan's music and words but not always a fan of his recordings.  (That's why I usually prefer other artists covering his stuff.)  Too often, it's painfully obvious that he and his backing musicians ran through a song once, rolled a joint, and then pressed "record" on run-through #2.  Some might call it tossed-off charm or warts-'n-all immediacy.  But I call it sloppy.
Don't get me wrong.  I wouldn't expect a Dylan album from the mid-60s to sound polished and glossy—that's not who he was/is.  But hearing a brilliant song like "Visions of Johanna" get marred by musicians fumbling their way through chord changes, quite frankly, sucks.
One of the reasons I like "Just Like a Woman" from the 1966 album Blonde on Blonde is because Dylan and his band sound rehearsed—not to the point of sounding rigid, but simply ready to record: they know what the changes are, where the bridge is, where Dylan is going to stop and start, etc.
Anyway, the song is rumored to be about Edie Sedgwick, a wealthy NYC socialite and member of Andy Warhol's "Factory" crowd, who had a tumultuous relationship with a friend of Dylan's.  To deal with the rocky relationship and her party lifestyle, Sedgwick turned to booze and pills as a crutch—vices that ultimately led to her accidental death in 1971 after various stints of trying to get clean.
In a way, it seems plausible that the lyrics are a critique of a high-fashion debutante who's into staying high to avoid reality.
But I think that's too easy.  Dylan was never that simplistic.  Or quite that misogynistic.
My take is that the "woman" in the chorus isn't specifically Sedgwick but more of a metaphor for dependency and vice in general.  In other words, the amphetamines (and whatever else) seem to provide the kind of unconditional love, acceptance, and shelter that one craves from another human being; however, by their very nature, they are ephemeral and take more than they give, leaving the addict wounded and broken in the end.
In any case, it's one of his best ballads and best-sounding recordings of this period.