I've looked all over, but can't find the lyrics yet. When I can, I'll post them.
Updated to say: Here's a link to lyrics, scroll down a bit to find them.
Meanwhile, some excerpts from an interesting post on The Pinocchio Theory:
In the video, Jones is frightening, ferocious, predatory, vampiric. She has become pure electronic pulse, materiality of the electronic medium ... — and she will utterly devour and destroy (convert into more image, more electronic pulse, more of herself) whatever thinks it might be able to stand apart from the process.
Jones’ voice is at first wheedling (”Pleased to meet you/ Pleased to have you on my plate”), before it turns stentorian, imperative, and threatening; and at the end of the song it modulates again, beyond words, into a predatory growl or snarl. She is telling us flatly that she will destory and devour us (”I’m a man-eating machine… Eat you like an animal… Every man, woman, and child is a target”). She is a vampire, but not a romantic one: rather, the song expresses Jones’ absolute identification with Capital as a vampiric force (remember that Marx long ago described capitalism as vampiric: “Capital is dead labor, which, vampire-like, lives only by sucking living labor, and lives the more, the more labor it sucks”). Jones sings: “I deal in the market… A closet full of faceless, nameless, pay-more-for-less emptiness… You’ll pay less tax but I will gain more back… I’ll consume my consumers.” Her lyrics absurdly juxtapose the cliches of corporate-speak (”Employer of the year”) with those of pulp horror (”Grandmaster of fear”).
Grace Jones is forcing us to confront the way in which, today, even the transgression that might have thrilled us twenty-five years ago is little more than another marketing strategy. Or the way in which, beyond all those discourses about race and gender and “the body,” the only thing that is “transgressive” today is Capital itself, which devours everything without any regard for boundaries, distinctions, or degrees of legitimacy; which “transgresses” the very possibility of “transgression,” because it is always only transgressing itself in order to create still more of itself, devouring not only its own tail but its entire body, in order to achieve even greater levels of monstrosity. Or, as Dejan puts it, in the video “you can see directly the intimate bond between animation and the mutability of Capital,” as Jones’ electronic mutations or modulations track and embrace and coincide with the metamorphoses of Capital itself, in our world of delirious financial flows and hedge funds and currency manipulations and bad debts passed on from one speculator to the next ...
“Corporate Cannibal” ... gives the most profound expression or articulation that I have yet come across to the affect of the vertiginous “globalized network society” we live in today.