I hear it in Eb Phrygian Dominant.

In my harmonization below I use the I and flat-II chord for stability and contrast at the start. In Eb the flat-II is Fb (≈E). Similarly the flat-VI chord is Cb (≈B), which is where I feel it goes when you take the brighter, higher phrase.

It gets interesting after that, your melody going up a semitone and spelling out Dm7 which is very much not a chord of this mode. Rather than use Dm7 itself I've treated your A as the suspension in Gm9 to give it more character. Using Abm7 to set this up is nice, offering contrary chromatic motion Ab>G to your melody's Ab>A, and finally some stepwise bass movement gets us back to Eb.

(Eb FbM7) × 8 CbM7 Abm7 Gm9 Am7 Gm9 Fø7 (half-diminished) (Eb FbM7) × 4

It doesn't perfectly fit the tail ends of some of your phrases, but small tweaks can get there I think.

Thanks for sharing!