The other half is that you are editing without a destination, which is why less looks unfinished rather than restrained.
Decide what the photograph is about before you touch anything. One sentence. The light on the wall. Her expression. The emptiness of the street. Then every adjustment either serves that or it does not, and you have a criterion instead of a feeling.
That also tells you where to stop: when the thing you named is as clear as it needs to be. Without it, the only available question is does this look better, and the answer to that is always yes to a bit more.
A practical order that keeps things honest:
Global corrections first: exposure, white balance, straightening. Fixing what is wrong.
Then the local work: bringing attention to the subject, holding back what competes with it. This is where a photograph is actually made and it is what people skip in favour of global sliders.
Then colour, minimally.
Most overcooked images are a global-slider edit doing the job that local work should have done. If a picture needs the whole frame pushed to make the subject stand out, the subject usually needs a small local adjustment instead: and the result looks better and reads as untouched.