Well, "quit immediately" as in stopping believing that X music MUST be done with Y devices. I recall the psychotic behavior that went on during the early phases of acid in the early 1990s, where people believed that "real techno" required every synth used to be analog, you had to have a TB-303 and other "church of Roland" accoutrements, and if your track had the ultimate bass patch, you won 1,000,000 Internets. This was incredibly stupid, and I know for a fact that as the prices of 303s, etc started to skyrocket to nosebleed levels, that false notion DID stop people from trying with whatever they could get their hands on. The 303 went from a "we pay you to get it out of here" device to something that was eventually pulling down wads of cash in the $3k range. And unless your dad was an investment banker, you weren't getting one.
And even crazier than this was the fact that, when you go back and review classic tracks out of Detroit or Chicago from the late 1980s and early 1990s, while you do find some artists using these (esp. Larry Heard, who kicked that 303 acid sound off with "Washing Machine" c. 1987), you would also find a lot of digital synths and off-brand things in peoples' arsenals. Hell, one of the Belleville Three, Derrick May, did tons of his basslines on a cheap Yamaha DX-100, such as on "Nude Photo" and kickstarted the "house piano" riff thing using a Korg M1 on "Strings of Life". No analog in those, nope.
So, yeah...I'm a definite believer in the idea that if you possess the ability to make music, you can make something just as good with a Pringles can, a pencil, a mic and a loop pedal as you could with a moving van full of TB-303s and TR-808s (another device that went into economic extinction during that same nonsense). The GEAR is only a tool and the MUSICIAN creates, not the other way around.