I think in a way that, at least in the beginning, Acid house was disposable. Moreover it's certainly true that much of it has dated rather obviously. This isn't a criticism, in much the same way that it needn't be a critiicism of something like Motown or early Sugarhill. The real beauty of it I suppose was that, while it was happening, nobody into it really knew what was going on, allowing for some very strange records to come out and be accepted by the 'scene'. These were often aimed squarely at the pop charts but still managed to maintain a certain underground 'cred' by being played earlier, usually in white label form, at clubs. In the case of D-Mob's
We Call it Aciied, this went so far as to actually namecheck various key club names in its lyrics.
Things got more serious, and arguably less interesting, once certain artists became celebrated for their more innovative style - primarily those coming from Detroit, including Juan Atkinson, Kevin Saunderson and Derrick May (the 'belleville three'). As Glice suggests, a similar thing took place later in the Hardcore scene, when the more hedonistic 'jump up' Jungle became supplanted by the more cerebral and Detroit influenced Drum n Bass. Although I still believe that the best records that ever came from that scene were those that managed to straddle both the Jungle and Drum and Bass scene - as with the Dillinja track that I posted above, or Splash's utterly incredible
Babylon.