Relations between histories, sources and preservation problematics are explored by evaluating how Dutch electroacoustic musical life is discussed in international histories of electronic music. Some Dutch cases consisting of different generations of interdisciplinary, live, performance-based electroacoustic work are discussed: the work of Dick Raaijmakers, Michel Waisvisz and Huba de Graaff. These cases point to some important aspects of preservation and the formation of histories. An emphasis in electronic music histories on technology and on technological innovation comes at the expense of information on the musical and artistic aspects. For greater interest in musical aspects, it is crucial to have more access to the music itself. The works and practices of Dick Raaijmakers, Michel Waisvisz and Huba de Graaff seem to resist documentation, ontologically and practically but, on the other hand, there is a desire for its documentation and dissemination. For their work, preservation means: making something new while being faithful to the past. It is therefore that I propose to regard preservation as performance. This music only remains alive when we are not solely interested in linear innovation, but in a profound relation with the past, in reworking the past.