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The idea behind collapsing low frequencies such as sub bass resides in the fact that sounds in that low range are monodirectional. Stereo sounds, by definition, give the listener a sense of horizontal space, so it makes little sense to try and give that space to a sound that is, by definition, monodirectional.
Back in the vinyl days this was a necessary step because cutting lathes would have trouble with stereo sound in that low range, resulting in unreliable pressings. There was even a limit on the total stereo width of the track as a whole due to this. Now a days that is a lesser consideration since fewer tracks are pressed to vinyl. That being said, the importance of managing your stereo width is still present.
So the biggest problem with your idea resides in the phase cancellation you may experience when the track is collapsed to mono. If your stereo width is too wide, then sounds may be less present or disappear completely in a mono setting. Many clubs run in mono or dual mono settings (for obvious reasons), so the importance of mono compatibility is considerable if you want your track to the same in a club as it does on a home stereo system.
As a general rule, many well mixed club tracks will have only a few stereo parts. Its a little easier to mix in this context and you can gain a bit of additional clarity because you are operating on the principle of contrast. If you have a single stereo track among many mono signals, the width of that track will be more apparent then if you have many stereo tracks fighting for horizontal space.
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bass, mono and all of the above.
