Oh man, you're going to try to argue with audiophiles? It's a lost cause. Have you seen the magic rocks? That's a real product. Don't forget to re-cable everything with silver, because *waves hands*! ****ing electrons, how do they work?!
Sure there's no scientific reason to believe that 24/192 could ever improve audio quality in any way (nor are there any legitimate blind tests which show people successfully picking the 24/192 file over the 16/44.1). Doesn't matter; Bigger numbers are very impressive to consumers. The target market isn't experts in sonic science, it's people with disposable income who want the best quality audio and aren't interested in doing the research. 192 is a way bigger number than 44, case closed. The files are like 5-6x larger than standard lossless, imagine all the extra magic you can fit in there.
Lossless is a different story though. It's true that not many can pick the lossless file in a blind test, but the fact remains that any lossy compression is going to (by definition) lose data. The biggest impact of this is that you can't freely re-encode the file into the format you want because you'll be doubling up on compression artifacts (and then it becomes far more likely that you'll notice the quality degradation).
So personally I'd prefer lossless formats when I buy music simply so that I have a re-compressible permanent backup. I don't particularly need the files to also be 6x larger because they contain audiophile magic.
I work in the AV world of broadcast film/video/sound....... and there is a very clear, audible difference between 16-bit and 24-bit.... particularly true in acoustic recordings. However, you're right that the majority of consumers likely won't know the difference... just like most consumers leave motion-smoothing turned on on their flatscreen TV's.... or are unable to distinguish the difference between 720p and 1080p.