"Dirty" would later appear on the single release of "Dirty Epic" and on the compilation album 1992–2002, while the previously unreleased full-length version of "Minniapolis" would appear on the compilation album 1992–2012 The Anthology, as part of the "Unreleased tracks and rarities" disc.

The coda of "Dirty" samples "Dolls' Polyphony" from the soundtrack of the anime film Akira, performed by the musical collective Geinoh Yamashirogumi.

[10] In all official Underworld releases after 1995, any appearances of "Dirty" fade out before the coda to avoid this sample.

[13] The song utilises many elements of the original to create a new track, with a prominent guitar line throughout, hence the name.

[14] As a result, the first official release of the track in its full length would be on the single for "Dirty Epic" in 1994, two years after its creation.

However, it would appear on the Junior Boy's Own Collection compilation album, also released in 1994, in an edited form.

1992 white label 12" release Hyde's signature stream of consciousness lyrics, which are heard prominently on "Dirty Epic", were written by filling notebooks with his own thoughts and excerpts from other people's conversations.

He said in an interview with Melody Maker, "I eventually realised the only way to do it [write good lyrics] was by observing people in cafes and pubs and picking up on things they said.

It's far more interesting than worrying about writing a perfect piece of poetry or some silly, catchy phrase.

"Dirty Epic" was released on dubnobasswithmyheadman, where it appears in a version that segues into the following track, "Cowgirl".

"[16] In an interview with Underworld in the following issue of Melody Maker, Christopher Dawes (under the pseudonym Push), correctly identified the Lou Reed inspiration when he said that "This [the lyrics'] harsh, slanted imagery wouldn't look out of place on, say, a Lou Reed album".

"[2] Stereogum rated it as the 4th best Underworld song, calling it the best track on dubnobasswithmyheadman and said that even though it was the album's most "retrograde" track due to "its verse/chorus/verse structure, its use of guitar, its undistorted and understated vocals, and its complete-sentence lyrical directness", it was also the album's "most ambitious undertaking".