I think it goes back to how punk got sold out (often by punks themselves, turning to more aspirational views of what punk was and is). The myth of punk as the desirable counter-culture - anti-establishment that became an aesthetic that was extremely marketable inside mainstream culture.
Having to fight skinhead neo-Nazis or uniformed fascists in the streets isn’t about figures to emulate, it’s the position of already being in an extremely bad situation. Yes, it’s somewhat nihilistic to look at what the politics of that mean (survival, small wins, making sure the fascists don’t make progress even if that’s only blocking it locally) but it can also be extremely honest. It’s dirty, it’s scary, it sucks. But the fictionalised version can lionise that and it becomes just something played as cool.
Cyberpunk is extremely cool, and probably always was, and that’s a problem. Even avoiding the trap of playing it as power fantasy of this uplifting variant, it’s still usually going to fit the structure built around a story of achievement. No one wants to read about being beaten and bruised, of not ending up making any difference. Any setbacks are quickly jumped over, used to create further motivation and characterisation rather than being the core of what the story is about. Edit: thinking this last part through, even a story of failure is usually about the glory of martyrdom - even in a story of failure it would almost always be framed as having achieved something. I think our stories are not nihilistic enough (too eager to dream of heroics, not enough of a stark warning).