To me, that is what making music at the piano is all about. Most of the time my fingers don't do what my head wants, either. But in the rare times when things did go right, I am filled with a great sense of accomplishment, satisfaction, and joy.
IMHO, when you take one of your recordings and 'fix it up' you cannot get that same feeling because it is as if you have cheated. Sorry - I don't mean to make anyone mad, but I am totally against editing, except for cutting and pasting in sections when you have recorded them many times and you are taking the best one. Maybe that's a little cheating too, but I do that.
Everyone is different, I suppose. I love playing, even when I get things "wrong." But "wrong" is a funny word. My experience is that "wrong" one day often seems "right" the next. I'm talking about emotionally or interpretively wrong, of course. That is one small part of the reason why music is (for me) endlessly fascinating. But writing, or composing, or painting is no different: we see things differently, hour to hour, day to day, month to month. We change perceptually and emotionally. Perhaps that change implies a refinement of the mind and the senses. Or perhaps it is just seeing things from a different perspective or point of view. I'm not sure.
I do not entirely understand what you mean when you say: "I am totally against editing, except for cutting and pasting in sections when you have recorded them many times and you are taking the best one. Maybe that's a little cheating too, but I do that."
Here we have the dilemma, nicely summarized in a previous post, of where to draw the line. Personally, I am not troubled by recordings (such as Pollini's Chopin referred to above) that are heavily or completely edited. It is, I think, an entirely subjective matter. I understand that many people, on discovering that a much-loved recording has been edited even "a little", can no longer listen to it. For others, "a little" is OK; but finding that something has been edited "a lot" brings them past their own personal threshold. There are, of course, total purists--like my parents--who really can't listen to anything outside the concert hall. The mere act of recording, placing microphones in particularly advantageous positions, or the electronic transfer of sound waves to the medium of the loudspeaker, seems to wreck the experience for them.
There is nothing right or wrong with these perceptions or predilections. Music is art; and all of it is subject to personal taste, unless you are living in a totalitarian society, in which case all bets are off.
I recall, as a child, listening to a very early recording by Rubinstein and Dimitris Mitropoulos (conducting) of Tchaikovsky's PC 1 and marveling at Rubinstein's technique, and also of the incredible beauty of Rubinstein's interpretation of this piece (which has never been equaled in my view, ancient though the recording may be.) My young mind was filled with images of playing this concerto in front of a huge audience, and impressing all of them with my fantastic fingers. I sometimes think this is what we pine for in performance. Bach's solo keyboard music, however, does not readily lend itself (for me anyway) to that kind of emotion or desire to be heard. And when we listen to Gould's recording of, say, the Inventions, we--or I at least--cannot imagine it played in a hall in front of an audience. There is, in fact, very little ambiance in that recording.
Modern recordings of solo Bach keyboard music are leaning back to the "ambient" side, which I am fond of. But now the image in my head is of someone playing the music in a nearly empty church cathedral. Perhaps only one person is listening, or overhearing a performance--or perhaps better an interpretation--which interpretation is entirely a personal expression, not really intended for anyone but the performer himself or herself.
In my mind, there are no limits, really, or no hard and fast "rules," that define what I like and what I don't. In fact, my likes and dislikes change from day to day, and I don't think there are any strictures that would restrict what I can listen to.