While you're on the other side of the world to me

[pseudo]

While you're on the other side of the world to me,
Everything will change, this side of the sea.
The howling wind will pass, the thick fog will go;
You'll hear my truth, you'll see my soul.

The feeling of electricity when I hold your hand,
As if lighting had struck twice where I stand,
Shoots up my arm and blows through my mind;
Like a shockwave, your touch ripples through my insides.

And if the world was forever eclipsed,
By the magic that passes between our lips,
I couldn't care for what they all might say;
For our love would shine brighter than the light of any day.

Whether washed up on some tepid tide,
Or lost in a maze, you'll forever be my guide.
You show me life, where all seems dead;
You make my life, I love you, Beth.

I think your strongest verse is the second, especially the imagery of lightning striking twice in the same location, and it flows very well. But in a similar vein as others' comments, I think you would do well to economize words, or expand the poem into more stanzas. I note you use contractions such as "you'll" and "you're" and "wouldn't" in order to save syllables, but I detect a small amount of tension between these and the overall formality of the poem.

In the second to last line of the poem you end the line with "dead," but I wonder whether you wouldn't prefer "death," seeing as it rhymes with Beth and communicates the meaning just as well. The third-to-last line sounds a bit clunky to me, the word "forever" sticks out sorely--it is the only trisyllablc word in that stanza and I feel it does injury to its fluency.

The ending is nonetheless quite good.

I've emboldened some of the contractions I think could be shortened. This poem is entirely in the hypothetical or subjunctive: "were you to be by my side, you will be X,", etc. If you brought it into the present tense you could save many syllables by omitting the words "will" and "would," which appear quite often throughout on their own and as part of contractions.