I don't find the specifics of the brush to be terribly important while edgelining, since I use the side. Anything large enough to hold a reasonable amount of paint, small enough to control, and not so hooked and splayed as to drag across surfaces you aren't aiming for will do the trick.
I use the Artist Loft watercolor rounds from Michaels as my "serviceable low- to mid-range" brushes, since they're cheap and easy to get. Tried a few of the more expensive singles from the top racks early on, but didn't find them to be significantly better - certainly not enough so to justify the cost (one of those brushes costs as much as a 4-pack of the house brand and nearly as much as better brushes ordered online). The AL rounds are skinny and straight-sided, which I might consider a boon for edgelining (assuming you paint with the edge, as I do). The length, as much as the width, determines the volume of paint that the belly will hold, so I can use the 5/0, 3/0, or 0 just as easily, simply choosing the size that holds the amount of paint I want.
If you want something better (not a bad idea, as edgelining doesn't require specific brushes, so you're essentially buying brushes for general painting), I'd go online. Good brushes will cost more, obviously, but very few painters will argue against their relative value. Kolinski sable is the bristle of choice, with Winsor & Newton's Series 7 having long been the gold standard. Quality seems to have slipped slightly in recent years, though, with Raphael and Rosemary & Co. brushes rising in popularity, due both to quality and comparatively low cost. For the good stuff, look online for either of those two brands (searching on Dakka will net you more than a few positive reviews).
As for more general edgelining tips, as I mentioned, I find it easier to paint with the side of the brush, dragging it gently across the corner at roughly a 45 degree angle. Using dilute paint and building it up in layers makes minor inconsistencies less glaring, as well as allowing you to build up a bit of a gradient, if you so desire. Brush load is important, here, as an overloaded brush is likely to cause runs, thanks to the dilute paint being used. I tend to use short, overlapping strokes to work down the edge, as I have shaky hands - it's hard for me to maintain even pressure if I try to do it in one long stroke. If the adjoining face is a flat color (i.e. not washed or otherwise blended), you can be a bit more loose with your edging, as you can come back in with the base color and tidy up the lines (it's much easier to paint up to a line than it is to paint the line, itself).
If you're feeling adventurous, I've even had luck using soft colored pencils to apply super-fine edge highlights. The lack of flex and flow compared to a brush head and paint allows for a very fine line on sharp edges.
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