"People said that way back in the early days I was probably one of the first rappers; the reason is that I couldn't sing, so I had to talk! Lou Reed was probably the one who started it all"
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Vega turns a perceived limitation into a founding myth, and he does it with a grin. “I couldn’t sing, so I had to talk” is self-deprecation that doubles as aesthetic manifesto: if your voice doesn’t fit pop’s demands, you invent a new lane where rhythm, attitude, and phrasing carry the song. It’s also a sly reframing of “rap” as less a genre gate-kept by origin stories and more a technique that keeps erupting wherever singers decide speech can be music.
The context matters: Vega, fronting Suicide, was cutting brutal, minimalist performances in the early ’70s - before hip-hop’s recorded canon hardened into a timeline. Calling himself “probably one of the first rappers” is both cheeky and pointed. He’s not trying to annex Black cultural innovation so much as insisting on a parallel genealogy: downtown New York’s art-noise scene was also obsessed with the beat, the chant, the incantation, the street.
Then he pivots to Lou Reed as patient zero, which is a shrewd bit of cultural triangulation. Reed is a safe, widely legible patron saint of talk-singing (“Walk on the Wild Side”), and invoking him signals lineage: Velvet Underground cool, urban reportage, the anti-virtuoso stance. Subtext: the real revolution wasn’t technical prowess, it was permission - permission to sound plain, harsh, bored, confrontational, human.
Vega’s quote also needles rock history’s amnesia. Critics love to crown “firsts,” but Vega’s version suggests something messier and more honest: new forms are often born from failure, necessity, and scene-crossing influence rather than tidy genre inventions.
The context matters: Vega, fronting Suicide, was cutting brutal, minimalist performances in the early ’70s - before hip-hop’s recorded canon hardened into a timeline. Calling himself “probably one of the first rappers” is both cheeky and pointed. He’s not trying to annex Black cultural innovation so much as insisting on a parallel genealogy: downtown New York’s art-noise scene was also obsessed with the beat, the chant, the incantation, the street.
Then he pivots to Lou Reed as patient zero, which is a shrewd bit of cultural triangulation. Reed is a safe, widely legible patron saint of talk-singing (“Walk on the Wild Side”), and invoking him signals lineage: Velvet Underground cool, urban reportage, the anti-virtuoso stance. Subtext: the real revolution wasn’t technical prowess, it was permission - permission to sound plain, harsh, bored, confrontational, human.
Vega’s quote also needles rock history’s amnesia. Critics love to crown “firsts,” but Vega’s version suggests something messier and more honest: new forms are often born from failure, necessity, and scene-crossing influence rather than tidy genre inventions.
Quote Details
| Topic | Music |
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