What's wrong with Uchida or Brendel...or Perahia?
In my opinion, they're too dreamy in the opening movements. Mozart's opening movements are where he showed off what he could do as a keyboard player. (Typically, openings in the time of Haydn, Mozart, and Beethoven were played faster than finales - the idea of a finale seems to have been, if I may add my own interpretation, was less like a spectacular finish and like more dessert after the meal.) But basically everybody since the time of Fischer and Schnabel plays Mozart's opening movements not as bracing showpieces, but more like wistful reflections. (Charles Rosen is an honorable exception in his recording of the B flat major sonata, K. 333, on the stunningly beautiful Siena fortepiano, but as far as I know he never recorded any of the concertos: https://www.youtube.com/watch?v=r8CwcGwnxEk) I understand that part of the reason for this is probably the nature of the modern piano, so different from the light action fortepiano that Mozart himself played (though the wistful style of performance has become such a convention that all the recordings I've heard of the concertos on fortepiano are like that too - Bilson, Levin, etc.)
To be clear, this isn't simply a matter of speed. e.g. Schnabel's recording of the 19th concerto with Malcolm Sargent is quite slow in the opening movement, but thrilling in a way that I've never heard in later recordings of the concertos or any live performance that I've had the privilege of attending, because instead of slowing down all over the place to be Expressive or whatever (or maybe when pianists slow down in certain passages of Mozart's openings, it's like what Rachmaninov said about Cortot's Chopin etudes: whenever it gets hard, he adds expression), he keeps a steady pace (not rigid, of course), so for example toward the end of the exposition he's built up an amazing cumulative tension. (https://www.youtube.com/watch?v=tJzLHaE71u4) But then Schnabel probably can't exactly be considered idiomatic Mozart - such a big sound; such an unpretty sound; not that I want to give support to the never-quite-dead myth that Mozart is merely pretty, but prettiness is an aspect of his art (or maybe I should say "charm," or what Mozart criticized another composer's music for lacking, "Hexerei," that is literally, "witchery"). But that's where Fischer comes in, who is both exciting and pretty.