hi slashfan,
of course you can wonder and doubt if… but I quote Troy and tell you not to overthink things. Maybe because I come from the motörhead school of rock where the law is: if it sounds cool it is cool and nothing more counts. but that is an advice even in the shred world of rock. I saw your technique critique you’re playing fast and good and you know it
That said, DSX is nowhere a one way street and does not hold you back in any way
you can
a) avoid the Yngwie lines and come up with your own, that maybe share the scales and tonality with Yngwie’s, so it sounds alike independently of the escape paths
b) make pull ofs/hammer ons as a part of your playing habits to change strings when playing Yngwie lines
c) swipe! pretend that something like escape paths do not exist, in other words: go before the CtC knowledge and do everything by ear and feel
d) bake in your good and comfortable DSX motion and learn another one later
e) bake in your good and comfortable DSX motion and step by step try to incorporate helper motions like VInnie Moore does: he can play the Yngwie stuff AND his own original stuff just by introducing a little forearm rotation (but not as a strict a method… like I said: go for it)
Or look at people like Andy James or Andy Woods. I do not think they are held back… by whatever it may be. they stand for guitaristic greatness while using DSX. I say this, because - as a side note - I sometimes have a feeling that here in the forum as well as in other corners of the web DSX and elbow is meant not to be as worthy as USX and forearm/wrist. I don’t know why. But look at the variety of fine players and be amazed what all can work properly with fine artistic output.
By no means I am an expert, but I believe and I often see it here that the fixation on a certain motion mechanic or escape path is the thing that holds people back and that reproduces old dogmas like elbow is bad or something alike…
I hope I could help at least a little 
