Hmm. Maybe it’s because I was listening to this on tiny laptop speakers, but I keep hearing ii7-vi-IV-V. I haven’t dealt with Schenker since Monica Lewinsky was in the news, but it sounds to me like a turnaround with a constantly deferred resolution. It sort of sounds like a 2-3-4-5 line which should resolve at the beginning of the next measure, but instead returns to the beginning of the cycle on 2. Meanwhile, there’s a persistent syncopated 1-3 (D flat – F) pattern happening in the high synth, which probably is why I want to hear the D flat as the silent tonic. There’s also the drum tuned to A flat, which keeps reminding me of the dominant. And the chorus/hook motif is 3-4-5-7-1, pushing a resolution that is constantly undermined by the instruments.
The bridge is 4-5-1-5 / 4-5-flat7.
As fun as this little analysis game has been, I think it’s important to reprint my favorite Schenker quote:

If the minor mode occurs among primitive peoples and seems even better developed among them than the major and preferred to the latter, this fact alone – so one might argue – should suffice to prove that the minor mode, too – that is, its perfect fifth and minor third – must be somehow rooted in Nature, and perhaps even more solidly so than the I:3:5 of the major mode.

Especially in the field of music such a hypothesis is gratuitous. The primary musical impulses of man should be considered in comparison with songbirds, e.g., canaries, much more than under the aspect of artistic intention. The songbird knows of no diatony, no fixed point of departure, no absolute pitch, no connection between determined tones. All he knows is a chaos of tones, a slurring and gargling and irrational trilling, which is deeply rooted in his animal emotions, especially in the erotic impulse. Primitive man, likewise, fashions but a chaos of indeterminate tones in accordance with his nature. Whether he is in love or arousing himself to a warlike mood, whether he dances or yields to his grief – no matter what emotion comes into play – the tones thus evoked are vague and approximate, whether taken individually o in their context. While it is easy to recognize the psychologic relationship between tones and emotions, it is much more difficult to find in them even as much as a trace of an order. And yet this very indefiniteness must be considered as a first groping step toward real art. It is one of the mystifying features of our art that its truth is not penetrated any more easily for having its roots in Nature! Today we know that the major mode has been, so to speak, designed and recommended by Nature; and yet we need hecatombs of artists, a universe of generations and artistic experiments, to penetrate the secrets of Nature and attain her approval. For the way by which we could approach Nature was merely our auditive sense, which had to make its choice between the valid and the invalid all by itself and without any assistance from the other senses. Therefore, the difficulties in the path of artistic progress were very real ones, and, at any rate, they could be overcome only by an accumulation of experiences.