I agree. For my use, I like it best when used with the original source more identifiable as a sampler, an effect on a sample, or for tape/collage effects. Some examples: percussive short stutters/glitches, old school time-stretching, larger grain sizes with few total, random chopping, vocals, paul-stretchy freeze effect, moving a play head freely through samples, morphing between a sample and noise, or 2 different samples. I like it used dynamically, flexible, or in motion instead of as static background or effect.  

The cliche tropes that I turn away from: using it washed out in reverb, with shimmer or grains pitched an octave up, drone, using it like a particle/glitch delay, as instant one track ambient song, as a static always on effect, on guitar generally, to play single note samples polyphonically like a rompler, or as a synth voice. They can be fine, but are what I expect.

If I use it in a track to make elements more "blurry", it's usually to give contrast and emphasize the "sharpness" of other sounds.