Is that your article? I'm afraid I think that it badly misses the mark. Literary cyberpunk is simple; it is nothing more or less than near-future crime fiction where technology (usually speculative) is central to the plot. That's the common thread; writing style, setting characteristics, etc., are diverse.

Now I know that some people are going to say, "but what of social structures and evil corporations?!"

Look no further than William Gibson’s Burning Chrome story collection:

-The word "government" is barely used, and the features of the setting’s governments are wholly irrelevant to the stories. (In fact, the IRS and other Federal agencies are briefly mentioned, which does not imply total anarcho-capitalism.)

-The word "corporation" is also barely used, and the stories (with one exception, of a sort,) have nothing to do with corporations controlling everything and making a mess of things.

-The stories don’t suggest very much about the social structures of their settings, overall. If they’re "dystopian" at all, it is by necessity -- as most of the action takes place in the underworld, with hackers, rogue agents, washed up ex-military operatives, etc. Thus, whatever the setting is, the story takes place in its seedy underbelly.

Yet surely nobody doubts that Gibson's collection is a work of cyberpunk, and an incredibly influential one at that.

What's overused, and what have become dated, are some aesthetic tropes that have become associated with the genre. But you can certainly write good cyberpunk without them. Just write a near-future crime novel where technology is central to the plot.