It is impressive, but you asked for suggestions for improvement. Some have said there was not much musicality of expression. I do agree, so here are some examples. Say, in measures 13-16, in the RH you have a melody in quarter notes, but there's not much shaping going on. Overall, there's a crescendo across the four bars, but there should also be some dynamic variation within each bar, so that there are surges that reach progressively higher peaks, rather than just an overall crescendo. Likewise in measures 9-10, there's an overall crescendo, but there should be smaller scale shaping of the 16ths. These are just two examples, but I think the problem is present throughout the piece. It's the little shaping of phrases that is lacking - if you have four staccato quarter note chords, don't play them all at the same volume, make them go somewhere. That's the sort of thing that will make it feel less like a machine gun of fast 16th notes. One way to find out how you want to shape things is to play super slow and pretend you are phrasing a lyrical melody in a slow movement, then try to keep that shaping at the real tempo.
None of this takes away from the achievement of managing all those notes accurately at that tempo. It's truly impressive.