The Kraftwerkian rediscovery and revival of the "past futures" of the early 20th century was not primarily in order to predict or envision the future. Rather, Kraftwerk constructed a cultural and historical space that worked as an imaginary utopian/nostalgic refuge in the cultural situation of 1970s West Germany. This article demonstrates that Kraftwerk's nostalgic reflections were neither superficially imposed nor understandable within the narrow scope of "simple nostalgia." Kraftwerk's futuristic nostalgia is a special way of creating historical narratives and images; it excludes sentimentality and rejects the idea of a Golden Age but, instead, re-imagines the past as a continuum of progressive development and as a source of inspiration and ideas. The imagined past becomes a nostalgic refuge, a space that has both restorative and reflective potential. Kraftwerk's retro-futurism and technological utopianism had a strong undercurrent that effectively employed nostalgic recollections from the adolescent years of the band members and revived some poignant experiences that were shared by an entire generation. Furthermore, Kraftwerk purposefully attempted to visualize and point out times and places in German history that could be identified without feelings of guilt, shame, and remorse. This article employs the concepts of restorative (utopian) nostalgia and reflective (ironic) nostalgia, both elaborated by Svetlana Boym. The primary material consists of four Kraftwerk albums released in 1974-78 and a selection of the published interviews of the band members.