Jim, I wouldn't argue with you on any of those points.
My feelings are firstly that, as (in the broadest sense) Folk Artists, we have a responsibility to find and preserve the music, song, and customs of vanishing societies, as you are doing; and to do our best to be able to demonstrate them in their original form. To research their roots; and then to build on these, according to our abilities, to produce new "sports" that reflect their origins , and yet are novel, and relevant to current society. Two seperate facets of the same jewel.
We all have different talents. And we tend to see things according to these, or maybe, as we mature, according to our recognition of our deficiencies.
I am a fiddler from the "classical" side, and my initial interest in the folk scene (many years ago) was a belief that I could inform my playing of, in particular Bach, by finding out how music contemporary to him was played. Alas, I discovered that, folk or classical, no-one had the faintest idea! But my point in mentioning this is - your area is particularly folk-song. Mine is tunes, a great number for dance. So we approach the concept of "folk" from different directions.
Regording folk music in england, I said, long ago (a little tongue in cheek) that it is mainly "eurotrash" - southern english, that is, not the northern tradition. But how could it be anything else? Our trade, our comings and goings, were with France (with apologies to the Bretons), Spain, Austria, Bavaria
and so on. Culturally southern england is part of Europe, whereas the north is allied to the Scandinavian countries. But happily the scandinavian/northern english music is being revived in the south, by people such as John Offord and Christine Dyer.
And there I will stop. The only cans left are 6% cider. And I will start writing rubbish - or at least say things I wish I hadn't!!