One of the most wonderful and hypnotic Rallizes tracks, whose most notable and bewitching part is hands-down the bassline. While there's a bass tab for this song on the esteemed ultimate-guitar.com, it's written in Eb, which while slightly closer to the Cable Hogue recording is consequentially a bit awkward to play. This version is in D. I won't speculate on tape speed or tuning irregularities to claim that my version is accurate to what was played on some fateful Nagano night, but say instead that this allows for a more natural implementation of the standard arsenal of Rallizes bass tricks 'n' licks. If you want it to sound more like the album, you can capo 1 or otherwise transpose up a semitone if you're not a lazy quitter like me.
(G)-7--7-6-4-2-0---------------
(D)-----------------4h5-4-2-0
(A)----------------------------
(E)----------------------------
I hate writing out tabs. Anyway, we'll call this the basic version of the line, which I will concede is not identical to the album in some respects, but the important parts are right enough. Like most Rallizes songs, this extremely simple structure lends itself well to small variations and tasters. I particularly like playing the root notes around at different octaves, varying hammer-ons and pull-offs between them, or just venturing off a little - just make sure you're back to the root in time or no one will ever forgive you. I'll also note that, of course, many of these notes could be played in multiple places on the fretboard. I find it more comfortable to play the final D on the second string, but it may be easier for you to instead play it on the seventh fret of the third string. Just be yourself and you're sure to succeed!
Wow! That's really it. Of course Mizutani's guitar work on top is more involved, but if you're a rhythm factotum like me, this will be enough to please you. Now, it's been noted many times that this track was probably actually just an extended intro to "Enter the Mirror" that got cut off or isolated, in which case the song would eventually add in an A, but once you add that third chord you're in jazz territory that we won't trifle with here. You'd need to add it in the bassline as well, of course. Might I suggest vamping on the root?
Also, I'll say that the title of this track is also often translated as "But I'm Different" (or the very stupid "But I Are Different," a Soulseek classic). I just happen to like the past tense, slightly inaccurate translation better. It's provocative, you know.