Tell me now, what more do you need?
Take me to Walter Reed tonight
Baby I've lost the will for fighting
Over everything
And there's a few things I gotta say
Make no mistake, I'm mad
'Cause every good thing I had
Abandoned me
A sad and lonesome me
I'm the walking wounded
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This song contains an extended metaphor that compares a dejected man frustrated by fighting with his partner to a wounded soldier. "Walter Reed" is an allusion to the Walter Reed Army Medical Center, which is part of a health care system operated by the U.S. Army. A broken heart rarely requires hospitalization, so Michael's request to be taken to Walter Reed is hyperbolic.
As the title of the song encompasses the metaphor and the comparison is the foundation of the lyrics, the song can be considered a conceit.
The verb "abandon" generally has a person as its subject: people abandon places ("to abandon a sinking ship," "to abandon a decrepit building"), other people ("to abandon one's child"), things and thoughts ("to abandon a car," "to abandon the idea of writing a novel"), and themselves to feelings ("to abandon oneself to grief"). Things rarely abandon people, so "every good thing I had abandoned me" can be considered an example of personification. It is unlikely that each and every good thing Michael has ever had "abandoned" him, so this is another example of hyperbole.
These lyrics contain two examples of alliteration: "Make no mistake, I'm mad" and "walking wounded."
dictionary.com: metaphor dejected allusion hyperbole personification explicit alliteration
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Give 'Em Enough Rope, for all of its many attributes, was essentially a holding pattern for the Clash, but the double-album London Calling is a remarkable leap forward, incorporating the punk aesthetic into rock & roll mythology and roots music. Before, the Clash had experimented with reggae, but that was no preparation for the dizzying array of styles on London Calling. There's punk and reggae, but there's also rockabilly, ska, New Orleans R&B, pop, lounge jazz, and hard rock; and while the record isn't tied together by a specific theme, its eclecticism and anthemic punk function as a rallying call. While many of the songs — particularly "London Calling," "Spanish Bombs," and "The Guns of Brixton" — are explicitly political, by acknowledging no boundaries the music itself is political and revolutionary. But it is also invigorating, rocking harder and with more purpose than most albums, let alone double albums. Over the course of the record, Joe Strummer and Mick Jones (and Paul Simonon, who wrote "The Guns of Brixton") explore their familiar themes of working-class rebellion and antiestablishment rants, but they also tie them in to old rock & roll traditions and myths, whether it's rockabilly greasers or "Stagger Lee," as well as mavericks like doomed actor Montgomery Clift. The result is a stunning statement of purpose and one of the greatest rock & roll albums ever recorded.
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Evidence of their grasp of the roots of rock & roll, on "Train in Vain" the Clash reference Robert Johnson in the title and Ben E. King in the chorus, though in the Clash song the jilted-lover protagonist bemoans "Did you stand by me/No not at all." With a funky popping guitar riff and a rootsy train whistle-like harmonica hook, the song stands as one of the most infectious and buoyant pop songs of the era. Sung with unwavering conviction, the song's irresistible melody is a memorable kiss-off anthem that now sounds at home on classic rock stations.
Source: allmusic.
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dictionary.com: attribute aesthetic eclectic anthemic explicit invigorating maverick buoyant unwavering anthem
