That's a relief. I thought a Lesser You might complain to a Moderator, but I see the Much Greater You won the day! Good man!
In a way, the edition you use is secondary. Let's go back to absolute basics. A piece in 4/4 timing has strong, weak, strong, weak beats. The downbeat is strong, the up beat is weak. On a more subtle level, the second strong beat (beat 3 of the bar) is a little less strong than beat 1. So, now we can refine it as strong, weak, not quite so strong, weak. Okay, this is subtle, but it is interesting, is it not?
Now look at your fingers. You should have noticed this before
but the index finger is shorter than the middle. (Do you see where this is going?). During the Renaissance, such observations were a BIG DEAL. They reserved the shorter (less mass) finger for the weaker beats. Often they alternated thumb (strong beats) and index (weak beats). Ok, this is not the Classical period, but stay with me.
Let's play the first six notes of the C Major scale using the thumb-index alternation. C (strong) D (weak) E (strong) F (weak) G (strong) A (weak). Do it with guitar in hand, not just intellectually. Now, lets extract the strong notes: CEG. Hey, that's a C major chord! Now look at the weak beats - wonder of wonders, it's a Dm chord, DFA.
By articulating the strong and weak beats, we've revealed the hidden harmonies in the scale. Bach knew about this, and exploited it. So did Ragtime composers like Scott Joplin. So did composers players like Dizzy Gillespie. Mozart knew it too. As did Sor.
Try the same Sor study again, playing strongly on strong beats, weakly on weak beats - in fact, overdo it. Play really strongly and really weakly, just to highlight the effect. Then dial it back a bit. Hopefully you will be getting a feel for where in the bar a strong beat is, and notice what chords are being outlined. It should sound more....architectural.
Now, you could argue that you could use just your middle finger on EVERY note, and manufacture the strong and weak beats. Well, that is certainly possible. For a long time modern classical-guitar technique went to great lengths to iron out the differences in mass between the fingers, so that any finger could play any note at any place in a bar, and manufacture the accents. But, man, that's such hard work! Let the fingers do it by allowing their differences to be integrated into the hierarchy of stresses within a bar. Sor knew this. He said he would never use the thumb on a weak beat.
Imagine a violinist who only ever played downstrokes - every note sounding equally strong. That would quickly tire (and he'd soon run out of bow). Strong and weak is light and dark, a chiaroscuro effect, bringing light (or lite) and shade to the music.
The right hand is the expressive voice of the guitar, and is extraordinarily subtle in its shading. But we all have to learn its secrets slowly. Hopefully the above will help a little towards that. It's not a question of feeling comfortable, it's a question of being musical.
I'll stop now!