Bernadette, I have learned to make counting
part of my practising but not all the time in all stages - and not as the only thing.
- The first thing is actually note value and relative note value, like when there is a tricky section, and you want the LH to line up with the RH; or if there are 4 beats, and you want to make sure that you end up with 4 beats when you're done that measure.

Some of my early difficulties were due to my guess-timating some of the timing. So I work those out. Here counting can come in. I've also learned that, say for 16th notes; I can go "1 and a, 2 and a" but but I can also turn that into "1-2-3-4" and other subdivisions, because notes are proportional. If you don't understand your note values in places, then playing with counting will feel like pulling teeth. It is not as obvious as it seems.
- I can go through a stage when first learning notes and working on small sections where I do not yet try for pulse and counts. While I'm getting a handle on fingering, leaps, unusual notes, I've learned the principle "Know where you're going before you go there." i.e. we can be vaguely moving toward an iffy note and trying to decide which finger and which note while in mid-motion. It creates tension, jerkiness, strain, and distraction. So in that case I may pause motionless, gather myself, picture where I'm going, and then move. This is NOT "in time".
- When these first stages are necessary, then counting is a thing that comes as a 2nd or 3rd step. I will often do this in sections before combining them; slowly enough before ever speeding up. I don't usually use a metronome.
I just finished working with something that was tricky for me. I recorded it, then put it on slow playback, say 50% tempo, and counted along to see where my playing might come in early or late. My ears are not nearly as "fast" or accurate as my teacher's. Actually hearing my own counts through the playback was a new skill for me. It sharpened my hearing overall.
On the last point: At times my teacher has had me listen to recordings of performers, including to hear their choices of rubato or other subtle timing: and
I couldn't hear it. Even if he clapped along, chances are that I'd miss it. Again, if I slowed a recording to 50% or less, I might be able to hear some of it. But this is getting better.
Finally: I don't always count, but counting is part of the stages. Since I do this, I can also jump into counting on the fly when needed. These days I find it helps steady me.
I would not want to just keep counting while playing through a whole piece, and always. I would turn into some kind of "automation" making me mindless, and making the numbers become meaningless. Also, if a skill is new, your brain gets tired fast. 5 minutes .... then a break doing something else ..... another mindful 5 minutes ..... that may be what you can handle at first; then increase it.
Also - you can count while saying "da da dada" looking at the music without playing: clapping the pulse. Mix 'n match.