I was in a show last year with a very brilliant and snappy silver worker. Very nice darkroom prints using a lot of black. The inkjet prints left nothing to be desired next to them, but each process was used appropriately for the imagery and tonal vocabulary of each artist.
For some workers, the ultra long scale and slightly shorter available density range of the NK7 system you use will never be acceptable, for others it's a dream come true.
One last comment, a direct comparison is also hard because you have to erdit for the materials. I made a Selenium MPS Ilford Gold Fiber Silk print of a file that prints beautifully on William Turner and Cone inks, as a comparison to take to a workshop thinking it would be interesting. It sucked. So the only intertesting thing to learn was- it's not the materials and process, it's the choices we make and how we bring our chosen materials to life. It's up to us, not the materials (even though some inherently suck)...
One totally viable possibility for those who love the photo surfaces, rarely mentioned in these discussions... stay in the darkroom! It's gorgeous, it works, it got worked out long long ago.