Nobody else has commented yet, so you're stuck with me again.
This is another leg in the dream journey of the hot air balloon, but I reckon this particular dream could do with moving forward a little more. You're playing at about 60 bpm which is quite a bit down on the marked 75. Admittedly, the composer himself is playing below tempo too (approximately 69). One would think that a composer's own rendition would be a pretty definitive indication of how he believes it "should go", which is why I'm surprised that his written tempo differs significantly from the one he plays at. *Shrug*
Still, perhaps if you were to play it a bit faster, not necessarily at the full 75, the urge to rush which you mentioned would be easier to resist.
There is, I think, almost too much of a dead-pan quality about your accompanying left hand quavers, in that the weight they carry is a little too equal. They feel more like individual notes and less like groups. Don't misunderstand me, I think it's great that you are not giving undue emphasis to the first note of every group (be it of 2, 4, or 8 notes), but it would be better if you could somehow focus less on individual notes and more on the wider picture, giving shape to the groups. But you need to do this without resorting to rubato (which I think would be seriously out of place here) or to over-accenting. I'm not sure how exactly you would achieve this, perhaps just thinking about it is enough, and playing it a bit faster will help.
On the technical side, there is of course one especially difficult spot in this piece and I bet you know exactly where it is and what I'm going to say about it. The tripletized second half of bar 7 (0:28) where you have to play 3 melody notes against 4 in the accompaniment. I can tell that you worked hard at this and indeed it is almost right, but not quite. You seem to be focusing on keeping the accompanying rhythm rock-steady, and you have succeeded in this; the quadlets are quite steady, but the triplets are somewhat distorted. Now you need to delegate control of the quadlet rhythm to the left hand so that it "thinks for itself", which of course it can't but what I mean is that you push control down into a quasi subconscious part of your mind, so the accompaniment plays "automatically", leaving the conscious part free to concentrate on the melody line, which also wants to be rock-steady.
Ideally you want to "feel" the triplets rather than place them mathematically, but as a preliminary exercise, the mathematical subdivision can be helpful, if you're not quite sure where exactly the notes should fit. The placement of the 2nd triplet should come one third of the way through the gap between the 2nd and 3rd quadlets, and the 3rd triplet should come two thirds of the way through the gap between the 3rd and 4th quadlets. A slightly less technical way of saying this is to place the 2nd triplet "just after" the 2nd quadlet, and the 3rd triplet "just before" the 4th quadlet. Your triplets are in the right gaps, but not quite in the right place within them. As best I can make out, your 2nd triplet is about two thirds of the way through its gap (it is "just before" the 3rd quadlet), and the 3rd triplet is in a compromise position more or less halfway between the 3rd and 4th quadlet. I hope that's useful.
It also helps to practice playing just that group in a loop, hands separately then together, to get the rhythm settled so it becomes almost automatic. Unfortunately, in the piece it only happens once, and it's more difficult to play just one cycle of the loop out of context. Again, it will probably be easier a little faster.
There is a small rhythmic misreading in bar 11 (0:44) which you play as 3+3+2 where 3+2+3 is written.