15 Jan 26th–Feb 1st, 2023 phoenixnewtimes.com phoenix new Times | cONTeNTs | feeDBacK | OPiNiON | NeWs | feaTuRe | NighT+Day | culTuRe | film | cafe | music | J oe Maier has a small but heart- felt collection of memorabilia from KEDJ. In his Tempe home, the photographer, blogger, and local music booster who goes by Every Show Joe has various swag from the now-defunct alt-rock station known as The Edge. The collection includes a bottle opener, ticket stubs, and various CD comps. Maier became an Edge listener at age 16 and was instantly hooked. “Once I had a car, I had it on constantly,” he says. His favorite part was Ska-Punk, the station’s Sunday night program showcasing both genres. It acted as a gateway drug into punk rock and “helped shape everything I still listen to to this day.” Maier was one of millions of Valley residents who tuned into The Edge during its 19-year run. From the mid-’90s to the early 2000s, the station reigned as Phoenix’s alt-rock radio powerhouse. Debuting in January 1993, KEDJ played “modern rock for Arizona” — grunge, punk, New Wave, U.K. dance-pop, and classic alternative — via 106.3 FM. By 1995, KEDJ had increased its signal, started simulcasting on 100.3 FM, added Howard Stern’s syndicated morning show, and began its heyday. Its music festivals were attended by tens of thou- sands of people. After rock went nu-metal crazy in the late ’90s/early 2000s, The Edge’s audience wavered. When new owners wanted to flip to Latin music in 2001, KEDJ escaped oblivion when management cut a last-second deal with another local broadcaster to move the station to 103.9 FM. The next decade brought even more bumps and ownership changes. In 2009, it became X103.9 and kept the alt-rock format for few years before switching to classic rock in early 2012. In tribute to The Edge’s debut 30 years ago this month, its longtime fans, such as Maier, and former employees share their memories of the station’s rise and fall with Phoenix New Times. Some quotes have been condensed for brevity and clarity. ‘Modern Rock for Arizona’ In late 1992, Phoenix’s radio market was crowded with a half-dozen rock broad- casters, including alternative stations KUKQ-AM and KFMA. Meanwhile, Detroit-based consultant firm Jacobs Media worked with Chicago investor Steven Taslitz to flip KONC 106.3 FM, the now-defunct classical music station he owned, to modern rock. John “Edison” Clay, KEDJ program director/DJ, 1993-1996: Jacobs Media pioneered the classic rock format [and] decided to launch alternative stations nationwide. Steven Taslitz was a big fan of alternative music. Christopher the Minister, KEDJ DJ, 1993- 1996: Jacobs owned the “The Edge” fran- chise and had stations everywhere. There was an Edge in Hawaii, an Edge in Dallas. But before the word “alternative” was used, it was “modern rock.” Clay: I was working in Houston [radio] but my job was ending. I’d wanted to do alternative for years and was calling around, including a friend running The Edge in Vegas. He’d heard they were starting one in Phoenix, so I applied with Jacobs. They flew me out in December ’92. The building was this dumpy little ramshackle place, but I took the job and spent several weeks preparing. The Edge officially began broadcasting at 6 p.m. on Friday, January 15, 1993, at a mere 3,000 watts with Depeche Mode’s “Personal Jesus.” Clay: We literally went from classical directly into Depeche Mode. When I came into work early Monday, there were 50 people wandering around the An oral history of the rise and fall of Phoenix alt-rock radio station KEDJ. program showcasing both genres. It acted From the mid-’90s to the early 2000s, the station reigned as Phoenix’s alt-rock radio powerhouse. Debuting in January 1993, KEDJ played “modern rock for Arizona” — grunge, punk, New Wave, U.K. dance-pop, and classic alternative — via 106.3 FM. By 1995, KEDJ had increased its signal, started simulcasting on 100.3 FM, added Howard Stern’s syndicated morning show, An oral history of the rise and fall of Phoenix alt-rock radio station KEDJ. The Edge’s then- morning jock Willobee (left) in 1993 with then- program director John “Edison” Clay. Courtesy John Clay >> p 17
