"I don’t know how she did it. Fire
She was shaking all over. It took
her hours to put her make-up on.
But she did it. Even the false eye-lashes.
She ordered gin with triple
limes. Then a limosine. Everyone
knew she was the real heroine of
Blonde on Blonde."

"It must have had an effect on Andy — Edie leaving him for Dylan. He was probably in love with Edie — a sexless kind of love, but he would take up your whole life so that you had no time for any other man. When Edie left with Grossman and Dylan, that was betrayal, and he was furious… A lover betrayed by his mistress."

"I know Bob Dylan expressed an interest in doing a film with Edie — a non-Warholian film. Dylan has always had a need for the mystique of privacy — the Garbo Trick. He’d ask, ‘Do you have any of those old movies of Edie Sedgwick we’ve heard about? We’d love to see them.’ She eventually signed with Grossman at Dylan’s urging."

"I went to meet Edie at the Kettle of Fish on MacDougal Street to talk over the project. When I got there, Edie was already at a table with a fuzzy-haired Bob Dylan, whose black limousine was parked outside… You know that song of his, “Just Like a Woman”? They say he wrote it about Edie."

"Bob used to come around the Factory, supposedly to listen to Nico practice, but… It was Edie Sedgwick he wanted. Edie was all part of it, which we didn’t know then. Dylan was calling her up and inviting her out and telling her not to tell Andy or anyone that she was seeing him. He invited her up to Woodstock and he told her that Grossman hoped to put her together with him… That she could be his leading lady."

"At the time I was riding around all over town in her limousine that made pit-stops at various bars like The Ginger Man where Edie would gulp down Bloody Marys. She never seemed to pay for anything; always signing her name to the check. No one ever questioned Edie’s methods as they were always seemingly dumbstruck and in awe of her great little girl charm and beauty. I later learned that the limousine Edie was using belonged to Bob Dylan.
Dylan and his manager Albert Grossman, it seems, were conspiring to take Edie away."

"Dylan liked Edie because she was one of the few people who could stand up against his weird little numbers. She was much stronger than the sycophants who were hanging around him at the time. He tested people, perhaps to find out about himself. He needed to know: who was he? Dylan respected Edie’s spirit and her strength in being able to deal with him. She didn’t wither."

"Edie had said: ‘They’re going to make a film and I’m supposed to star in it with Bobby Dylan.’ Suddenly it was Bobby this and Bobby that, and we realized that she had a crush on him."

"I liked Dylan, the way he created a brilliant new style… I even gave him one of my silver Elvis paintings in the days when he was first around. Later on, though, I got paranoid when I heard rumors that he had used the Elvis as a dart board up in the country. When I’d ask, ‘Why did he do that?’ I’d get answers like ‘I hear he feels you destroyed Edie.’"

"Bobby Dylan and I occasionally ventured out into the poppy nightlife world. I think somebody who had met Edie said, ‘You have to meet this terrific girl.’ Dylan called her, and she chartered a limousine and came to see us. We spent an hour or two, all laughing and giggling, having a terrific time. I think we met in the bar upstairs at the Kettle of Fish on MacDougal Street, which was one of the great places of the sixties. It was just before the Christmas holidays; it was snowing, and I remember we went to look at the display on Houston Street in front of the Catholic church…"