You are instead editing the parameters of synthesis, which change the sounds the virtual synthsizer (in this case an MSP patch) generates. Note that when you do this assignment, you are not editing sounds, as you do in a sound editor.
But the knowledge of how synthesis works is every bit as important now as it was in 1983. In this day and age, the idea of a "patch editor" is mostly moot, since almost everyone uses laptops to make sounds, rather than a dedicated hardware synthesizer. It was a major step in "virtual interfaces" to music equipment in general, and it was the prototype for Galaxy, Steinberg, and many others that later became common. The first graphical patch editor ever created was for the DX7, written by David Zicarelli (founder of Cycling74) on the Macintosh. This kind of graphical "patch editor" soon became the industry standard. Within a few years, some programmers figured out how to make the process more tractable by putting all the synthesizer parameters on a computer screen at once (including graphical envelopes). Initially, not only was FM difficult to understand, but it was supremely difficult to edit all the parameters using using the tiny LCD display that is on those old synthesizers. For both of these reasons, to create new voices on the DX7 was beyond the reach of most musicians.
This is because FM is an inherently non-linear synthesis technique, and also because the parameters of synthesis are too hard to manipulate using the buttons and tiny display on the synth. The DX7 can make a wide variety of sounds, but it is notoriously difficult to learn how to program it. Although it is now an "ancient" synthesizer, there are probably thousands of them still in use throughout the world. When the Yamaha DX7 FM synthesizer appeared in 1983, it took the world by storm-the DX7 was by far world's most successful synthesizer up to that point (and by number of units sold, probably still is!).
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