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 (upon further consideration, actually I hear it as an E♭m chord with some dorian background flavor, so maybe I was right). The other suggestion, however, is that the notes are all part of one large E♭m(11,♮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 extended 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!