Like many classic techno basslines, this is about getting sine waves (i.e. sub bass) to interact in a pleasing rhythmic way with the kick.
The first point is that the more notes used in each division of a bar, the greater the perceived energy. For this reason the cliched tech bass would be very short sine waves with sharp attack - basically, "mini-kick" drums - played on shuffled 16ths notes, velocity edited for groove, then sidechained with the kick.
At the other end of the spectrum. "dubby" sine basses involved longer notes, often pitch modulated for a sense of suction into the next kick drum. A bassline that pays attention to both aspects is a winner, plenty of energy but also that nice suction!
The other key point is to think of your kick and bass as part of the same entity; therefore the kick needs to be tuned to the note of your bass, by using a freq analyser on the kick and the below link:
http://www.phys.unsw.edu.au/jw/notes.html
In this way, in many tunes, a kick drum forms the "interval" note in the bassline, or actually completes it by being the root note that the bassline returns to.
Pattern wise, the most obvious are this 16th-note cliche and then the even more cliche offbeat pattern. But for a bass like that in the clip, you'll need to play around.
Take a sine wave, set to full sustain so it plays as long as you hold the note for.
First try applying POSITIVE (rising) or NEGATIVE (downwards) pitch envelopes. Experiment with the size of the envelope, i.e. the amount of decay / attack, depending on whether its a postive or negative envelope. Experiment with the amount, i.e. 1 octave, 6 semitones, etc, and consequently adjust the starting note pitch as suitable.
To create the kind of "mini-kick" sound i mentioned earlier use a negative (downwards) pitch envelope with a very short decay. For more dubby, sucking, trippy sub bass, try a small positive pitch envelope, timed with an attack of say 1/4 or 1/8 - play around until it's "pulling" into the next kick drum.
Then try and/or a pitch lfo (set to rhythmic divisions, 1/8, 1/4, 3/6 etc.) with again trying positive and negative amounts, and experimenting with small-to-medium amounts of modulation (usually not too much.)
Then program some variations on the offbeat pattern, i.e. notes 3+6, or 4+7 (of 16ths) - rather than notes 3+7 (of 16ths) for the standard off beat.
Keep experimenting with shifting the notes around, forwards or backwards, try some intervals like 3rds and 5ths too, while experimenting with all the synthesis settings above - you will eventually hear when the kick and bass are locked in an energetic way, and/or dubby way!
Oh, sound design and processing wise, try some saturation and distortion before low passing around 200 hz, to gently thicken the freqs directly above the sub bass region.
Finally, in this clip, the bassline is then augmented with low/mid range percussion "filling the gaps" between the bass and kick, creating extra syncopated energy to drive the beat forward.
Hope that helps.
