It can be an interesting goal, though. I've done generative-type patches on some not-too-huge systems that involved less internal variation, but which used external processing variations to create all of the complexity. The key thing to remember is that your 'instrument' in electronic music isn't limited to the particular boxes in question, but is in fact made up of everything you've interconnected. Hence the entire 'studio-as-instrument' concept which you first start seeing with the likes of Brian Eno et al. Once the gear starts to get hooked to each other, the lines between where one device stops and another starts get very blurry.
Best way of conceiving of generative systems is the 'orders of control' concept which I'd first encountered in academia. Take a single LFO and patch it to a VCO to use it as a modulation source. That's 'one order'. Then take a second LFO, modulate the first LFO with it, and you get two. But the fun starts at 'two orders', because these can either be linear (like the above example) or they can involve feedback paths, such as sending part of the VCO's signal back to the LFO and making use of it to FM the LFO, which then affects how the VCO behaves, which then etc etc etc. Get on up into third orders and beyond, and this can get really involved and interesting.
Another way to break out of straight-up sequencing is to make use of generative variables in your DAW. Ableton Live, these days, is rife with possibilities invoving algorithmic, random, psuedorandom, arithmetical and even more mojoistic methods of generative structuring. Couple some of this with, say, Silent Way and an ES-8 interface in the modular, and then you can even bring these things directly into play in the synth itself...or since the ES-8 has four return lines, just take that 'feedback loop' concept above to utterly insane heights!