When you reach the E major triad you are in the key of E major, the E7 is the V7/IV a secondary dominant which points to the four chord but instead goes to F#m which is the ii chord in E major and shares two notes in common with the four chord. The C and D major triads are approach chords to the E chord and harmonize the bass notes C and D which are not in E major or C# minor scales. If we were staying strictly with the harmonic minor scale the C#m7 would instead be a C#min/maj7 because of the B#, so this is a common case of combining minor approaches when writing harmonies, it is a i, V7, i in C# minor the i is from C# aeolian mode, the V7 is from the C# harmonic minor scale. This time the first three measures are based on C# aeolian and the C# harmonic minor scale which adds a B# to the E major key signature. He's playing lines based out of the Dm barre chord shapes at the fifth and tenth frets mostly with some notes sliding between those positions. The solo EC plays over the intro on the Unplugged version is just D minor pentatonic with an E natural added, a hexatonic scale, there are no Bb or B naturals in his line.
This is just the relative minor of F major, D aeolian, the chords are the vi, IV, V, and vi of F major or the i, VI, VII, and i of the D aeolian mode which isn't as easy to think of as the vi, IV, V, and vi is for my tastes. The Choruses are Dm (or D5 sometimes), Bb,C, Dm (or D5) repeated 6 times. I think it makes it a little technical to think of it in Roman Numeral analysis, I don't know how much Eric Clapton and Jim Gordon thought about that when writing it in the first place, but here goes: What may be muddying things up in your analysis is that he plays G#7 instead of G#m7 in the first three measures of the verse, this makes it a mixed minor scale harmony.
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