this?

https://www.democraticunderground.com/1034148027

Thanks for the headsup HPD.

...a chord as the hook! That chord that caps the bass line is so memorable.
Andy had other police songs where his riff was the hook (Message In A Bottle, Every Breath You Take), but this song having a chord as the "grab your ear" element is unique.

(Or, more pedantically, a minor 7add11 aka 7/11, since "minor 11" typically implies the 9th is present, which it isn't here). That was certainly a new sound to me as a kid at the time, though I'm sure chords like that were used previously by Steely Dan et al. But that was unique for a new wave band. And that guitar tone--the brickwall-compressed clean guitar with chorus and delay--it set the standard for what guitars would sound like in the '80s.

BTW, if you want to hear chords like this in classical music, check out Vaughan Willams' "Bredon Hill" from his song cycle On Wenlock Edge. You can also hear these kinds of harmonies in the music of Impressionist composers like Debussy and Ravel, but never in such an obvious way as this piece.

Here is a YouTube link. Note that this is the chamber orchestra version (1909). I prefer the larger orchestration (1924), but this version includes the score so you can read along.

I was trained as a jazz piano player, so chord extensions & substitutions are my thing.
But, the chord Andy used is particularly unusual on guitar. I've played it on guitar, and it's not that difficult to play, but an inspired choice for sure.

...at least for pop/rock players. I'm sure that the guys in Steely Dan used chords like that before, but I would bet good money that a new wave band never played a m7/11 chord before Andy Summers did. The easiest fingering for that chord is to play a Csus2 with an open A string. It functions as an Am7 (Aeolian, modal minor), but it adds a lot more color. Alex Lifeson ripped it off for "Distant Early Warning" from Grace Under Pressure. Not too surprising, as Lifeson was a big fan of the Police.