I'm going to post this one a second time.
The reason I'm posting it a second time is that I'm not sure thee's a general understanding that a street shot has to have a story in order really to be effective. Somebody simply standing on a street, or squatting on a street (à la Keith's exotic shots) may be excellent informal portraiture, but it probably isn't good street.
What's happening here? Well, it's not hard to figure that out. But let me ask you this: Have you ever been in this kid's position? Do you understand what's running through his mind? I suspect you have and you do, and that the picture reconnects you with that feeling -- at least to some degree (unless you're an automaton). It's that kind of connection a street shot needs to make in order to do its job. You can see it over and over again in HCB's stuff, in Robert Frank's stuff, and in Garry Winogrand's stuff, to name just three out of a multitude.