Bauhaus, Sisters of Mercy, Joy Division, The Cure, Siouxsie and the Banshees: no one cares what THEY thought they were doing (the Sisters, laughably, claimed to be playing 'Heavy Metal,') but everyone who still cares about those bands knows they count as the Original Goth Bands.
The Velvet Underground and The Doors were the 60's fore-runners of Goth.
Bowie, Lou Reed, and, to some degree, Pink Floyd were the early-to-mid-70's forerunners of Goth.
But the term "Goth" only caught on (in America, at least) in the mid-80's, in the wake of "Punk-slash-New Wave," at the same time as "Hardcore" and BEFORE "Alternative" or "Indie."
Bauhaus was 'Bauhaus' because they weren't, for example, 'the aging baby-boomer hippie blues travesty.' The name evoked cold, modern, white European intellectualism. Kind of a 'fuck you' to all the white English rockers trying to ape black American blues artists (hello, Robert Plant, Eric Clapton, Mick Jagger: were you guys a little overplayed in the late 70s/early 80s, hmmmn? Just a little, yes....)
The original 1980s goth aesthetic, depressive and eclectic as it was, drew on post-WWII existentialism and early 20th century modernism as well as the Victorian romanticism which, along with S&M/bondage/fetish crossover, has come to dominate the "goth scene."
Dead Can Dance mark the transition point between earlier, 'existential-despair-overwhelms-pop/rock-band' Goths and latter-day 'quasi-victorian-latex-fetish' 90's mall-Goths.
That's where I washed my hands of it: adolescent angst and pretension isn't a good look for most aging hipsters, so I've moved on.
Ask somebody else where 'Goth, per se' is headed these days.
But - "where have they been?"
That's where we've been....