I want to make it clear that in no way am I an authority on chord theory as applied to dance tracks. However, just hearing this makes me think a few things:
-Song is in E♭ minor
-This is a progression consisting of: E♭m / E♭m / D♭m / F(half-dim)-B♭+7
-The notes you mentioned are non-chord tones (not in the chord) that outline an E♭ Dorian harmony (the C♮ makes this Dorian)
-When the chord moves down to D♭m, the same description applies, but this time it's a D♭ Dorian harmony (B♭ makes it Dorian)
-The last bar of the progression is a ii-V in minor, hence the half-diminished chord (I don't know whether dance music uses the classical "half-diminished" chord or the jazz "m7♭5"). Note that this abandons the E♭ Dorian mode entirely, switching to the harmonic minor (half-diminished ii chord and ALT chord on the V)
The progression repeats. I noticed some people analyzed the first 2 bars as D♭'s ii-V; I can see how it makes sense, but I wouldn't call it that, as this relates the entire song back to the key of D♭ whereas the song clearly revolves around the E♭ minor chord. All of Michael Jackson's vocal lines center on the E♭ minor tonic, and the clear jazz ii-V at the end resolves the weird vii chord (rather than the traditional VII in minor, which doesn't contain the phrygian-sounding note F♭) to the tonic E♭. Also, what would you call the 3rd bar? C♭ major's ii-V? It doesn't make a lot of sense from a functional harmony standpoint to relate the chords to D♭ or C♭.
The other ideas posed for the 1st bar were: E♭ Dorian's i-IV, which is similar to my take on the passage, but counting the notes as chords rather than simple notes of a musical phrase. I think that's probably an equally valid proposition, if not more valid than mine; the othyer suggestion is that the notes are all part of one large E♭m(add11,add♮13) chord. I don't agree with this because the notes aren't ever all played at the same time. Now, simultaneous attacks are not requirements for chords; however, the way these notes are broken up into first E♭-G♭-B♭, then the A♭-C♮ doesn't really allow the notes to really sound like one big chord. Yes, playing that chord over the passage works, but it doesn't seem to reflect the way the song sounds- playing them as two chords is more revealing of the arrangement of the song.
Also OP said the rest of the song could be analyzed, so
Prechorus: C♭ / E♭m / C♭ / E♭m / F♭ / E♭m / F(half-dim) / B♭+7
Chorus is same as verse.
Hope this helps!