By losing (sacrificing?) the stuff about the crowd and coldness of the British Museum, you lose the notion that this god has been removed from his original context, both geographically and chronologically.
Personally, I find those contrasts important, because they emphasize that even restoring this statue to Egypt could not restore him to his former glory, and what does that imply about the immortality of gods?
In the two-stanza version, there are no people until "we," and even "we" are more like birds than people. I miss the version of the poem that let me reflect more on how "we" are like gods. And thus how gods (and their representations) are inevitably like us, too.