- Big-Lipped Alligator Moment: "Strangers When We Meet", a surprisingly mellow-sounding song reminiscing on a failed relationship, placed at the very end of a surreal, sprawling rock opera about a brutal murder mystery. Somehow though, it still manages to work quite well, in part because of it being framed as a flashback by the preceding segue, and because it ends up serving as a suitable makeshift denouement to the unfinished story.
- Broken Base: A minor one exists as to whether or not this album's version of "Strangers When We Meet" is better or worse than the The Buddha Of Suburbia original. Supporters of the 1993 version describe it as being technically superior, while supporters of the 1995 version describe it as sounding more musically and emotionally inspired. Others prefer to Take a Third Option and state that both versions are equally good for their own reasons and are best listened to in the context of their parent albums.
- Career Resurrection: General consensus is that Outside is considered to be the album which ends Bowie's Dork Age (well, for those that don't consider Black Tie White Noise as such).
- Darkness-Induced Audience Apathy: Not only one of Bowie's darkest albums but also his longest (at 74:36); Bowie himself outright regretted making the album as long as it was without releasing it as a Distinct Double Album. Claims of this trope are therefore inevitable.
YMMV / Outside