Alan Parker, the director of Midnight Express, explicitly asked Moroder for a song in the style of "I Feel Love", which Moroder composed for Donna Summer. It was Moroder's first time composing a movie soundtrack.
Although a disco piece, "Chase", along with "I Feel Love", is more specifically considered the pioneering introduction of the hi-NRG genre, which came to prominence in the early 1980s.
"Chase" was the sonic signature for the MISL's Kansas City Comets during the late 1980s and 1990s. It was played during live match play when the Comets would move the ball up the field.
It is the opening theme music for Coast to Coast AM, a syndicated late-night radio show.
"Chase" was partially covered by Daft Punk in their "Daftendirektour" performances in 1997, as well as being used in many of their late-nineties live performances. The duo would later collaborate with Moroder on a track in Random Access Memories.
"Chase" is used as a reoccurring music motif in the Hong Kong neo-noir The Longest Nite.
"Chase" is sampled in Dutch DJ, Jesselyn's, track "Flora".
Professional wrestling on-air talent and manager Jim Cornette uses "Chase" as his entrance music while on the independent circuit. Occasionally, the song has also been linked with the tag teams he managed, most notably the greatly successful Midnight Express. It is also used by British wrestling tag team Full Pack (Micky Long and Iain Robinson).
The Missouri Comets, play off with the Kansas City Comets using "Chase" as their entrance theme and during games.
The group DuOuD performed a cover of "Chase" with Arab luths.
^"Giorgio Moroder: 'Sylvester Stallone wanted Bob Dylan to sing on a Rambo movie'", The Guardian, 31 October 2013. [Interviewer] "You survived the disco backlash remarkably well." [Moroder] "Well, I was lucky to have that song, I Feel Love. Alan Parker, the director of Midnight Express, loved it. There's a thing in Midnight Express where the kid is running away from the police, and Parker just said: 'Giorgio, give me a song in the style of I Feel Love, like with the bassline and things, and make it work for that scene. The rest, you use the synthesiser, just do whatever you want.' That was scary, because I had never done soundtracks before, but it went well and I got my first Oscar, and that opened up a new life in the film business."
^Whitburn, Joel (2004). Hot Dance/Disco: 1974-2003. Record Research. p. 183.