I write this stuff for money, and using the senses is vital in good erotic fiction. It's surprising how many writers limit it to sight and sound when there are more senses busy with the experience.
Similes I recall using for the taste of cock or pussy include boiled shrimp, bought on that long-ago vacation in Galveston or New Orleans; lobster or crab without butter, enjoyed on their honeymoon at Cape Cod; clam juice; and raw oysters. If you tie it to a food taste, you also get to round out the person's character by adding a past event. Scents include musk, seawater, fresh sweat, and whatever scents the person applies or uses, like cologne or scented soap.
Do be on the lookout for filtering, common when incorporating more of the senses--reporting what senses were used to convey information to the brain. It creates distance between the reader and the character, and it makes you use "I" or the character's name as the subject of the sentence instead of leading with the sensory input. Instead of "I feel the wetness," go with "My lips slip in the wetness" or something similar.
Filtering can usually be spotted by the words that do it, although not all uses of these words are filtering. Search for all the verb tenses and forms of saw, heard, tasted, smelled, felt, knew, thought, considered, regarded, wondered, noticed, was aware, sensed, etc. Decide on a case-by-case basis whether it's there to filter the point-of-view character's experience, and if it is, rewrite it to make the thing the character experiences the subject of the sentence.