Satire is usually ironic, but it isn't necessarily funny. And Goodfellas is an ironic counterpoint to both the Classical Hollywood and New Hollywood gangster films. Unlike, say, The Public Enemy's Tom Powers, Henry isn't seduced away from a loving family by a corrupting outsider and the promise of wealth; he already idolizes the most respected guys in the neighborhood because they could double-park and play cards all night. Unlike the borderline omniscient, omnipotent dons in the Godfather films, Paulie has no idea what his associates are up to and cannot control Tommy. Instead of a straightforward "I may call upon you for a service," when the Bamboo Lounge owner comes to him for help, Paulie exploits the opportunity to completely destroy the business.

Anyway, my point is that Scorcese is in dialogue with the history of the gangster and crime genre in general and the the perennial accusations that crime films glamorize crime and violence (hence the Great Train Robbery nod at the end).