Oh I agree it's a fixture of the genre, especially early on. Vietnam was a major backdrop for the early cyberpunk authors, and served both as media phenomenon of a "new" violent world (of course it had always been this way, but now it was televised in American homes), and as an uncomfortable reminder of those realities in the form of returning wounded veterans.
Notably those authors were often distinguished by not being veterans, or even nominally draft dodgers in Gibon's case, and the SF community in general tended towards anti-establishment leanings (Heinlein being a notable exception), and this outsider view can be seen in their work: In Neuromancer for instance, two of the most characters whose modifications are called to reader's attention, Armitage and Ratz, are explicitly disabled war veterans with whom Case cannot really relate.
I always found that older analogy a little clunky, since they tended to invent 'tech diseases' which really weren't much of a metaphor for anything -- later there'd be some retcon about how it was an analogy of toxic media exposure, but looking back I think that kind of analysis didn't start appearing until the film version of Johnny Mnemonic.
One version of this theme I really liked and thought was much more elegant, was in Upgrade which managed to pack a lot of pretty smart commentary in a low-budget action flick. In that the cybernetics actually delve into the ideas of ownership, free will, and questioning whether that live-service corporate quadriplegia treatment might actually be controlling you; something I think is very realistic.