I saw the late Detroit techno co-inventor and constant innovator Juan Atkins perform exactly once, at Mutek in 2013, alongside Berlin’s Moritz von Oswald, for the debut of their joint project, Borderland. A jazzy excursion into electronic dub, their Sunday session was cannily booked: live enough to stir the serotonin-depleted gaggle of industry heads and hardcore ravers who stuck around for the festival’s last night, but laid-back enough so that they didn’t break a sweat a few hours before their flights home. It was also a tidily triangulated mission statement for the sub-EDM world of dance music in the twilight of the blog era, a celebration of techno’s Detroit roots and its alliance with the Berlin culture industry, reverent of Black sounds while handwaving away the mostly white crowds, adventurous but tastefully structured so as not to ruffle purist feathers. In a year that saw DJ Rashad’s footwork treatise Double Cup shake the world, I thought it righteous that tech…