it is quite understandable that Europeans try to deny the predominantly black, primarily African and Afro-American foundation of modern pop and dance music.
Europeans come from cultures which spent 1000 years condemning rhythm based music as "animalistic" and "primitive", "characteristic of the lower classes", in pursuit of cerebral harmonies, "music of the spheres". Cultures in which the only respectable form of dancing was as spectacle rather than participatory communal activity; cultures where music is to be enjoyed sitting down, in quiet contemplation; cultures where hip movements were, and still are, considered lewd, disgusting, and offensive. But now, 100 years since the arrival of jazz, white people find themselves in a world dominated by rhythmic music made for social dancing -- of course they would try to claim that these things are also, EQUALLY European as much as it is anything else.
Especially modern Germany: there was no German youth culture to speak of in the post-war eras, as Deutschland imported everything from jazz to rock to disco, until the largely ignored at home Kraut Rock movement gave birth, almost accidentally, to Kraftwerk's elektro-pop. Now Germans want to lay claim to techno culture as, if not entirely, as much theirs as belonging to anyone else.
I live in Germany, play often in German clubs, tour often within the country, and talk often to German clubbers. The view that techno is predominantly European, and have nearly NOTHING to do with Africa, is prevalent. Only the serious heads who know a bit about music and the world will acknowledge the deep and direct connection of hypnotic, trance inducing rhythms and prolonged social dancing, to African cultures. Only people who know a bit about history realizes that these things were not allowed to flourish in Europe, but rather discouraged and looked down upon, until the arrival of African American music during the 20th Century.
My perspective on all this is neutral, or at least much more neutral than blacks or whites, because i come from the Far East, removed from both the historical racial dynamics and baggage of the western world, as well as hearing modern music with fresh ears, with an unbiased point of view, having grown up without any scene affiliations.