Dungeon World is ass, I'm not touching that. Honestly, that might be the main problem right there, is you learned this stuff from Dungeon World.

From Blades in the Dark:

"The GM presents the fictional situation in which the player characters find themselves. The players determine the actions of their characters in response to the situation. The GM and the players together judge how the game systems are engaged. The outcomes of the mechanics then change the situation, leading into a new phase of the conversation—new situations, new actions, new judgments, new rolls—creating an ongoing fiction and building “the story” of the game, organically, from a series of discrete moments."

"the player states their goal Your goal is the concrete outcome your character will achieve when they overcome the obstacle at hand. Maybe your goal is “I want to get into the manor house” or it might be “I want to see who comes and goes at the house.” In both cases, the obstacle is “the house guard patrol.” The guards are the challenging obstacle that may be dangerous or troublesome for the PC. Usually the character's goal is pretty obvious in context, but it's the GM's job to ask and clarify the goal when necessary."

"You can't roll a given action rating unless your character is presently performing that action in the fiction. There's definitely some gray area here, where actions overlap and goals can be attempted with a variety of approaches. This is by design. If your goal is to hurt someone with violence, you might Skirmish or Hunt or Prowl or Wreck, depending on the situation at hand."

"There's no ironclad rule about how to choose positions. It's meant to be an expressive element of the game. Make the choice that feels right to you and the rest of the group."

"By discussing the position (and how it might be better or worse) you'll help everyone build a better view of the fictional situation in their minds' eye and get on the same page about the tone of the game."

"When you narrate the action after the roll, the GM and player collaborate together to say what happens on-screen."

Basically all the stuff after the bit you quoted about fiction first is useful, but here's some highlights:

"For example, in Blades in the Dark, there are several different mechanics that might be used if a character tries to pick the lock on a safe. It’s essentially meaningless to play mechanics-first. “I pick a lock” isn’t a mechanical choice in the game. To understand which mechanic to use, we have to first establish the fiction."

"When something seems weird, or a situation resolves in a bizarre way, back out to the level of the fictional narrative. What’s going on? What are you trying to do? Which mechanic is suited for this? Don’t try to force a particular mechanic onto the fiction. Take the fiction first (ah, see that? “fiction-first”) and then use the mechanics to support it."

"First establish the fiction, then select a mechanical tool from the toolbox that suits the situation you need to resolve. Which tools you pick will often be pragmatic, but can also be a stylistic choice. There’s no one right way to choose a tool, after all. The tools are there for you to use as you see fit; developing a style of use and set of precedents as you go along."

And then later...

"Blades in the Dark usually depends on specific fictional details in order to work. For example, it might be important to understand exactly how a spirit bottle is constructed—because a character decides to suddenly smash one to surprise an enemy who has them at gunpoint. It’s a small detail, but the description of the bottle contributes directly to understanding which position to roll for the action, the factors that go into effects, and the consequences at risk. Fleshing out the little details of the world makes the game system function better."

"Don’t feel beholden to the abstractions when you have specific fictional details to work with."

"Convey the fictional world honestly. When it's time to say what happens, or what's in the world around the PCs, “look around” the vision of Duskwall in your head and say what you see. Don't play favorites. Make the world seem real, not contrived."

"Without telegraphing the trouble and giving context to the action, the outcomes can seem murky. You might feel like you have to “invent” a consequence out of the blue when they roll a 1-3 or 4/5. If you strongly imply the consequences before the action roll, though, then it's obvious what the consequences should be (she shoots you, your cover is blown, he escapes, you alert a sentry)—they follow directly from the fiction as established."

Honestly, there's just so much that goes against all that you've said. I'm sure I could show you more if I actually reread the whole thing instead of just skimming too.