If you remember his first single, you’re probably old enough to enjoy this one.

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[5.67]

Kat Stevens: “Middle-aged disco” makes it sound like I am not in favor of this record. How about ‘Mum-bosh’?
[8]

Brad Shoup: Subliminal percussion, a piano undercurrent so simple I could probably give it a go… Young’s minimalist returns continue to diminish. I do like the scatlike way he gets through the line “I’m on down on my knees”; every time I hear it, it sounds like a mistake he’s soldiered past.
[4]

Katherine St Asaph: “The Edge of Glory” had too many edges and too much glory, thought Richard X, flipping through some Kylie and Sophie CD jackets and becoming increasingly pissed at how stiff the discs felt against his hands. The next day, Richard replayed his Will Young track-in-progress, which he’d drafted in a dizzy frenzy after Born This Way‘s last song finished. He re-orchestrated it for helium machines and tissue-paper streamers, added lots of “it feels like”s and question marks to cushion the lyrics, and when Will showed up to record, Richard kept asking for more quaver and less volume. The track went to mixing, and it no longer had edges, although some glory made it through.
[6]

Michaela Drapes: Yeah, yeah — this totally sounds like the end title to a decade-old rom-com, as the heroine drives off into the sunset, leaving her stunned asshole boyfriend behind as she finally takes a stand to live her life the way she wants … oh, sorry, you want the drums in the coda! The perfectly-constructed buildup on the front end! The shimmery synth bridge! And, lest we forget, Will’s smooth as silk crooning, phrasing cribbed from a thousand hours with George Michael and Jimmy Sommerville and Andy Bell; not to mention Cher and Annie Lennox. Hey, did I mention those drums in the coda …? 
[9]

Iain Mew: I’m not sure I can think of a better fit for Will Young at this point than glossy and assured electronic pop music, but this kind of sounds like a Hurts album track, and most of their album was really dull.
[5]

Alfred Soto: While Richard X gets the producer credit, it could be Stuart Price or any other devotee of swirly Eurothud numbers — and borrowing a title from a great Pet Shop Boys song no less! This adenoidal example keeps threatening to reach fever pitch. I’m still waiting .
[2]