Gareth's answer is already great! Personally I would add that there is additional subtext in terms of the relationship between queer life, organized crime, and rituals of speech.
In the days of the vice beat, cops were trained to infiltrate queer circles with a rigor that you would expect of cops trying to infiltrate a gang. Police studied the rituals and language of queer life extensively, and trained their cops to be able to replicate those signifiers, similarly to when police attempt to infiltrate crime organizations.
"In some departments, it may have occupied a majority of the vice squad’s time and personnel. Often selected for their youth or beauty, these cops sometimes went through an astonishing training regimen to prepare them to slip undetected into the demimonde of the sexual psychopath, receiving official guidance on dress, slang, and comportment at a level likely surpassing even the most committed homosexuals. But soon men began sharing stories of being beaten, arrested, or worse from the predatory undercovers and adopted community signals to make clear to both parties that neither meant the other harm."
"Vice, Vice, Baby" by Max Fox a review of VICE PATROL: COPS, COURTS, AND THE STRUGGLE OVER URBAN GAY LIFE BEFORE STONEWALL BY ANNA LVOVSKY on BOOKFORUM
Queer men at the time had a similar reason for needing to operate in covert ways, and signify their identity to others like them while not alerting suspicion. Thus the shared ideas of "raising" to another person and being "in the same line."
Additionally, there is a history of violence and crime in film serving as a proxy for intimacy between men. Injury and emaciation serve as plausible deniability that allows men to express care for one another:
"One way of doing this, Neale argues, is by making the male body the target of violence. In the war film, a soldier can hold his buddy—as long as his buddy is dying on the battlefield. In the western, Butch Cassidy can wash the Sundance Kid's naked flesh—as long as it is wounded. In the boxing film, a trainer can rub the well-developed torso and sinewy back of his protege—as long as it is bruised. In the crime film, a mob lieutenant can embrace his boss like a lover—as long as he is riddled with bullets. Violence makes the homoeroticism of many "male" genres invisible; it is a structural mechanism of plausible deniability."
TARANTINO'S INCARNATIONAL THEOLOGY: "Reservoir Dogs", Crucifixions and Spectacular Violence journal article in JSTOR by Kent L. Brintnall
So, I think beyond the explicit parallels in shared language, I think Burroughs might also be pointing to both the shared mechanisms of homosocial ritual and the implicit cultural connections between crime films and connection between men.