A sharp card scraper and 150 grit on a cork-covered block (cork-covered length of 2" PVC pip or block) will clean that up. I would suggest that next time, put a coat or two of dewaxed Zinsser Clear Shellac on the body (to include the edge of the top) and on the binding channels. CA is happy to cling tenaciously to shellac, but avoids excessive penetration as Mr. Hall mentioned, so tacking in complex binding schemes may be easily done in steps. Start with taping everything in place (1/4" to 3/8" strapping tape works well), then LIGHTLY TACK with thin CA... keep the tacks an inch or so apart. Once the purflings and bindings are in tacked in place, remove the tape over consecutive 2"-3" lengths with changes to body orientation to allow gravity to be your friend.
For plastic binding, there's not much else to cover. For wood bindings, consider doing your prep (45 degree chamfer on inside corner; break sharp edge on outside corner to avoid cutting tape/fingers) then applying a coat of shellac to the binding. This does not work with Titebond or gelled acetone-based glues like Duco, but makes CA binding and purfling glue-up virtually free of drama.
For what it's worth, we usually put a coat of Zinsser spray on the entire top, then a second light coat over the binding channels... that largely eliminates binding, purfling, and rosette milling tear-out, fiber pulls due to bad decisions on direction of pull on tape, and keeps any errant CA from becoming an issue.
For repairs or rebinding of finished guitars, using BSI SuperGold odorless/Foam-Safe, which has much slower burn-in versus thin or super-thin CAs, and can often be applied and excess wiped off before much in the way of lacquer or varnish damage/adhesion occurs. We often can make a binding repair on a lacquer-finished guitar without further touch-up beyond a light wet sand and buff.
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