A few remarks on that argument. First of all, the metaphor of the man walking down the middle of the road comes to mind. Identity Parade in particular, alongside The Best British Poetry 2011 (also Lumsden-edited) has more than once been lambasted for having included the wrong poets and passed over others whose inclusion in any generational anthology should be a given. Wootten need not be worried that Lumsden's tastes don't offend anyone, or that he fails to be selective.
Moreover, a representative sample has to be representative. The size of the sample in relation to the population matters. If an editor or publisher is to in any way carry off the claim that their book is a generational anthology, even tentatively, it has to convince its readers that it covers a fair bit of the ground.
I don't think this is actually possible with British poetry today, except by means of the mega-anthology. Sure, you could select your 20 or so luminaries and write a fiercely combative introduction that puts them at the centre of everything that's happening, but no sensible person would waste time entertaining the thought that you were right. They might read your book, and they might even say you've articulated your views forcefully, but unless there were some reason they were in your thrall, and in your thrall alone, they would then re-subject themselves to the vast arena of poetry beyond your wagon-circle and never find themselves thinking: "But how would I refute x's case for those 20?"
The article also includes the oft-used phrase "competent but unexceptional poets", which is usually a shorthand for a general complaint that there aren't enough poets on high pedestals, who can be seen for miles around. No one's ever made a great case for why we need these pedestalled poets, and no one has, to my knowledge, made a strong case for any poet of the modern era deserving this position, and that's why we are where we are now. But I don't entirely dislike where we are now.