Can't Stand Losing You (Live in Boston) Edit 7''

Apr 01, 1995
Track List And Lyrics
    DISC NO: 1
  1. Can't Stand Losing You (Live in Boston) Edit lyrics
  2. Roxanne (Live in Boston) Edit lyrics
Recorded At


Sumner's Tales: Sting talks...

"Both our singles are reggae influenced, but that was by the way. They were our best songs at the time, They're not reggae all the way through. Both of them go into straight rock and roll. You can't expect us to play old Led Zeppelin riffs now."
New Musical Express, '78

"It's a young person's song - a punky song. When we got together, Stewart and I were in our late twenties, Andy was older. But we would pretend, for the sake of songwriting, to be younger voices. The Police happened at the same time as punk, which I identified with, but not for musical reasons. I had been shut out, too. Two years before, I had been turned down by every record company. I was told my songs weren't commercial. The hip press was disdainful of us. I was 28, we were all too old, it was obvious we could play our instruments, which wasn't de rigueur. But there we were, playing along side Johnny Thunders in the Roxy. We weren't loved. But to be marginalised critically is sometimes the best thing that can happen: it can make tough. And if the press haven't made you, its harder for them to destroy you. 'Can't Stand Losing You' was in the same style as 'Roxanne' - a sparse bass line, four in the bar on the guitar; very skeletal arrangement, and again going into a rock'n'roll chorus with lots of eighths. And I did some more of this up and down, strange, high-pitched singing. It's pretty juvenile, really. And it's a song about a teenage suicide, which is always a bit of a joke. The lyric probably took me about five minutes."
The Independent, 9/93

"With The Police there's a judicious use of effects throughout the songs, and they do enhance them. The use of the Echoplex has been particularly beneficial with the band, like on 'Can't Stand Losing You', where I get a double rhythm effect. It does make a difference and is very exciting."
Andy Summers: Guitar Magazine, 3/80

"When we first came to the States we used to do 'Can't Stand Losing You', and we had to stretch it out a bit. So we started to do a bit of jamming in the middle of the song, sort of droning away on a D. Then it gradually expanded. It gradually became a whole other piece of material which we knew was coming up every night. Eventually, it turned into 'Reggatta de Blanc', which went on the second album, a very unique piece. In fact, for that actual track, we won a Grammy."
Andy Summers: Musician, 12/81

About 'Dead End Job...
"I infiltrated a few songs at the beginning - 'Visions Of the Night', 'Don't Give Up Your Day Time Job', 'Landlord' and 'Dead End Job' which I wrote the words for. It's still my favourite Police song. It's totally irrelevant now but at the time there was a lot of real angst; real 'fuck you', which I like. It's funny too. I love it."
L'Historia Bandido, 1981

About 'Dead End Job...
"This was the one I where I did a reading from a local paper in my Lancashire voice - it was the only time I got a compliment from Sting about my vocals."
Andy Summers: 'Message In A Box' Liner Notes, '93

About 'Dead End Job...
"It was the best song we had back then. I loved that riff. It was quite a release."
'Message In A Box' Liner Notes, '93

About 'Dead End Job...
"It was another of the really early tunes from the original set list. I think I had been playing the riff since high school. The bass line was demanding and the other punk groups held Sting in awe because he could really hammer it. It was a song that John Cale tried to produce, but this is a later recording with Andy."
Stewart Copeland: 'Message In A Box' Liner Notes, '93


Review from Melody Maker

"So the secret's out. Klark Kent is none other than Stewart Copeland, drummer with the Police. The trio turned up a fine surprise in their last effort, 'Roxanne', but no one paid much attention, least of all the radio stations. They should fare better this time, hopefully. White reggae rhythms alternate with a sturdy, singalong chorus in what turns out to be a neat piece of pop."

Review from New Musical Express

"Great name for an outrageous new wave band. Lousy name for a feeble white reggae act. Last observed proceeding in the direction of the waste bin. Not worth apprehending."

Review from Sounds

"Y'know, apart from the dubious nature of all those KK stickers around town, this Klark Kent bunch ain't too bad. Now that they've done this single in the thin disguise of the Police. Having wormed their way into your ear with their careful incorporation of a reggae feel (not rhythm) and vocals carefully arranged to cover their inadequacies, they sling it at you - the cover of a hanging man ain't no joke, this is a pop song about suicide. Next week, Sons of the CIA and 'We're Coming To Take You Away, Ha Ha'.

Review from Smash Hits

"Not so much a reissue, more a reminder from A&M that it's still available and as they don't seem ready to release a new Police single just yet they'd be grateful if you'd go out and buy this one again. Seriously though, dear confused reader, if you missed out on this razor sharp cut first time round, a cut that scars the thin line between anguish and anger, please investigate it now. Play it loud and marvel at how it slices through gristle to your gut. I shall play it once more before we move on."