Eraserhead is good but also a little student-film-ish and tedious.
Funny you say that because I recently rewatched the movie, twice in a row, and thought I saw a strong connection between the film and the deadpan American indie films of the mid80s (because I'm calling Stranger than Paradise the first) and into the 90s with Tom DiCillo's Johnny Suede and Living in Oblivion, Alexandre Rockwell's In the Soup, etc., outrageous dreamy fantasy infused films executed straight facedly (films that are sometimes criticized for being student filmish and tedious).
I love his intense puzzle films the most, and as far as I'm concerned he's only actually made 4 of them (my top 4). The rest of his movies are sort of in a different category for me.
Makes total sense.
Part of the reason I couldn't execute this list, or really any list, is because I find it difficult to weigh two styles against each other. Even having discussed Eraserhead in the manner we have I still couldn't definitively conclude, for myself, that its relative merits and flaws form a concrete shape. It has characteristics, but its artistic methods produce emotional responses from me, to varying degrees, and these types of responses are difficult for me to categorize (when they're awesome, i.e. when they're done well and work for me, and this usually involves a component of mystery which Lynch is always willing to supply).
Lynch strikes me as a difficult filmmaker to rank because his films move me each in different ways. I think this is the distinct appeal of The Elephant Man, Dune, and The Straight Story to different types of people, especially perhaps those usually alienated by Lynch's flourishes. Perhaps from what Christian has said and listed he would know what I mean. But then if you love Lynch there are so many ways to like and dislike him. He jams my circuits in a way I don't mind and am totally okay with.